^6 z'??^ 



MANUAL 

foi a 

MILLINERY DEPARTMENT 

Prepared by 
The Research Bureau for Retail Training 

CARNEGIE INSTITUTE OF TECHNOLOGY 

PITTSBURGH. PENNSYLVANIA 









GEfiERAL S-c2il£S NO, 5, 1923 



LIANUAL FOR A MILLINERY DSPARTMEKT 



Prepared for the excloisive use of 

BoggB & Buhl Frank & Seder 

Joseph Home Company Kaiif mana.-' s 

Lewin-Neiman Company Ueyer Jonas son & Gcmpany 

The Rosenbaum Cocipany 
Th6 £iti0l>i2;:gh. ^tllaecboole 



Cooperating with the 
Researab Bttxoaa for Ro tall Smlning 



1922 



^ ^^/o^a3 



CARIJEGIE II^TITUTE OF TECHNOLOGY 
Jittcburgh, Ponnsylvacia 



C1A709893 



JliL -2 1923 



The information in this manual ^vas 
collected through selling; Ftuc'^ing the stock: 
in the diffei-ent stores; talking v/ith buyers-, 
assistants, and expert salespeople; and read- 
ing references on textiles. 

The racnuscript was submitted to the 
following buyers or assistants for crit?cir-m. 
The Bureau appreciates the help which tl^ey 
gave and takes this opportunity to than]-, them, 

Miss K. Ludden Boggs & fiuhl 

Llr. Sternberg Prank & Seiftr 

iliss P. Prentripp Joseph Homo Co. 

I4iss L. Becker Eaufoann's 

llTS. m. Ringle Lew in-Ef; -Iran Co. 
Jlr. 11. T. LIuhlf elder • lleycr JojDas^cn Co, 

MI'S. B. Long 2he.-ilo£6nta\m. Co. 



To Salespeople 

The facts given in this manual have 
been arr&nsei in oraer to be self-teaching 
for any saJ.bsperaon who really vrants to ^pply 
himself, Ihere :s given fii3t a question, 
th&n a ser'.os of Te^^ Qneiitions, First read 
the qvostxcn c^r^^^'iily ■^han the eT.^\7eT-> Then 
test yoi:rsexf oy seeing if you can ansv;er the 
test questiLin-=. . If you cannot, read the answer 
again, ff ycu read the manual conscientiously 
and t]ien answer the test qiiesc?on /loin^ •ruat la 
suggested ijo. each one you oannot hBiij- becoming 
a more intelligent and useful salesperson. 

One buyer said, "The information you 
have given here is information for salespeople 
who want to advance, — that iSj the infoncation 
they aust have- if they are going to be expert, 
and it is essential for buyers, or even assis- 
tszits.«' 



IIAMJAL FOH A lIILLIHERy DEP/iE'EIEHT 
CONTENTS 



Qftestion Page BOOK I. 



1 
24 
30 



15 
22 



Chapter I. 
Chapter II. 
Chapter III 



Learning Stock 

Values a Custcner Looks for in Buying 
Inforaation on Llate rials and HJanufao-ture 
necessary to Espiain ^TMues 



BOOK II. SP ECIFIG VALUES Ig MILLUSIEBY 

56 50 Chapter I. Sfc2'-lG 

66 63 Chapter II. Beconingnees and Suitability 

73 74 Cloapter III. Serviceability and Confort 



BOQi: III. 

79 80 Chapter I. 

90 92 Chapter II. 



INFOKILIIIOH FOR REFERENCE 

Department Vocabulary 
Methods of Teaching 



BOOK '. 

Chapter I Learning Stock 

Ohajjter II Valiiei e- Customer Looks for in Buyia,~ 

Ghai)ter III Infc-^uSP.tioii on rate.r.'ris ard IK-nafac- 
lJ3cesss.ry to E5:'j?.a*.n \'ai.U3s 



CHAPTER I 
LEAPITNG STOCK 

1. "What is meant by . leamiag stock? 

Learning stock means firding out what articles are. carried in 
the department and where they are kept. 

2. For whom is this divisio n especially Important,?,, 

It is particularly for new salespeople. If the instructor thinks 
best, it need not be discussed at all with experienced salespeople. 

3, How nay a nev/ £fty»cn learn stock? 
• She may learn by: 

(1) Paying close attention when she is given any instruction by 
the sponsor, the arisistant or the head of stock; 

(2) Observing the merr-hanaisr. rjarefully durlnj: her spare iioments 
and also whi/.e she 5.~. sellluc; 

(5) Asking questiour, freely of the head of stock or of some one 
else who is Eup:,>osed +.0 hc.'p nf^v peonle; 

(4) Actual sellin^i <-^f goods .ona casing for stonk; 

(5) Testing herself to see whethtr or not she rfjmrmbers whore 
certain hats are k<^;pt 

These points will be taken up lat^r. 

location of Sto -.k 

4, >'/hat d ivisions nay b e made in learning stock loc ation? 

It seems helpful to divide the msrchandis'^ into f onward and re- 
serve stock, rorvard stock refers to nerohandxce en the Ee?.ling floor 
reservp to stock from which the ior..'am stock Is f riled. In mil lire ry 
reserve stock is not usually the exact duplicate of that already on the 
floor, for excep;; in the case of untriioncd or sale. ha\;s, a large numbe^y 
of idonMcal styles aie not borght. Re.=oi-v,3 here sraply means stock 
wh-ich wiM be put in as the haos on chd f.icor are sold. These hats may 
be up in the worK^oom or simply stored rntil used^ 

Fo::ward stock m^y bft subdivided into sale and regular stock. Salo 
ptock includes mai-chacdisf: that has either been bough;, in large quant? - 
tiPS at a con'^es'^Aon for iur'-ck turnovex', or merohancise out of regular 
s';of-k which has been reduced, 3-.les o:;(.\ir frequently at the and of a 
season :,.-n order co ge^; rij of old aei-chandise before the next rearcn 
conmences, tale mec-chand.^ Fe is also xeatnared durircj the season to draw 
trade, 3 few exceptional values being offered as leaders. 

T est Questions. 

1. w.iat is fonvard stock? 



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2. How may It be divided? 

3. V/hy is this division important? 

Bhat nay be done to help a new sa3.esperson learn the location of stock? 

The new salesperson will protably be giren certain Btock for Which 
she is held responsible and whr.w*. she must learn thoroughly, learning the 
other merclandise about her gradimlly. 

(1) .Vo»«6 abot.t'.tJse steals: 5,a"?;3ie iV"?>t^^w»*4 

Before she is assigned to her stoclc she shouTd.be taken ^bout the 

department and sh9\m v;:iore ths uk'iiji c*asoss of q'jC^.b are kept. For instance, 
Bhe shouXd be told,. " Trirar.iing£ ai-e sc.^d at t-his counter, untrlnaned hats 
here, children's hats over there, &.->:A i;iie expensive hits in xhe French 
rooms." In this vaay sha can direct cusocuprs waere they want ';o go. If 
certain tables are reguie-iiy usea for aj.y cp^'^ia? ijype or gi-ade of merohan- 
dAs© this should be ezp^aiacd -o the nu\7 girl. For example, if a certain 
aisle is likely to have on it the cheapest hats in the department, say so. 

(Z) i^ots about her amx stock 

The new salesperson will probably be assigned to one table or at 
least to a small gi-oup of tobies, and she should be ^^old to noiice the 
following points about the merchandise on these taoles: 

'vVhat materials are carried 
" styXes " " 
" colors " " 
" sizjs II »i 
" prices '• " 

1. Materials 

Point out the aif f erent materials to her* for instance, in 
wl&ter hats, a duvetyn, beaver, plush; in stra 's, a Milan, Leghorn, 
lisere, horse-hair; in spring materials, celophane, etc. Then ask her 
to show you one or more of each till you thinlc she is- sure of the ma- 
terials* 

In trimmings, the particular stjrle of trim will largely de- 
termine the nB.terial used, such as feathers, ribbons, flowers and oma- 
ments, but it is ^Iso I'ell to :<:io-7 the c.iffexent materials used in the 
different kinds of trLns. In feathers, for instance, point out ostrich, 
aigret, coque, pheas.nt; in flov\/ers, those made of satin, muslin, velvet; 
in ribbons, faille, cire, iaoi.-e taffet, t-./o-toned satin; in ornaments, 
Jet, steel, "«>oden beaos, etc. 

11. Styles 

Tell her the number of different styles on her table and 
poj^it them out. Say, for instance, 'There are three styles on t>iis ta>lo. 



- 7, 



Here 5.s a turbaa or tnrr,i<). a rolled ^.Tim .-.ar.lor, and a trJcom. I^ese 
come in difxeren-i icatur.'als and colors but there are really only three 
styles to remember. 

In triiaming, the style will be determined largely by the 
material — feathers „ ornaments or ri'b'fjon- Sihe difforonc It.'.r.ls ox' styles 
in each kind oC trJXJin^.ng shoulo. 'ba noted, su'ih aw 5, rl.rmes, pocpons, 
quills, wings, etc, in feathers; single and clustered flowers or firuit, . 
whether small or large; plain and farcy ribbon, i^sed ar> br-.ndc, "bows, 
rosettes, etc. Ornaments come in a wide variety of styles fiom cabo- 
chone to small beads. 

iii» Colors 

Tell her to notice the different colors. Have her look and 
find out v/hat t\70 of the hats come in any one of three colors, for in- 
aitanoe, navy, bro^'m and blaok, and that other styles como in only one 
color. 

In tr.imnlng it is jjiipor*^ant to know the combinations of 
colors used in ti'j-rraing as v/ol] as th: predominating color. Care should 
be taken to call them by th-a new color used for that season, sach as 
"Tangerine", "reseda", "imisT;" , 

iv. Size 

Some hats run small and the salesperson should know what 
these styles are. k?t,o untrinmed hr-ts somet.^raeo come in several sizes 
aad this should be knciOi, Usizally ohildrer's h:.ts are sold in a separ- 
ate section so that there xs i-o confusion about misses' and children's 
Size •. 

It is also important to know what sizes the trimnings come 
In^ The length of the feathers, the width of the ribbon, the rizo of 
the flo\vers and hd*' manj' Liake up a cluster are ■'.tems *'o conrider, for 
example, in the triumings section. 

Tf. Prices 

Point out to her the number of prices at her table and sho-:? 
her something definite to remember about each ore. Por example, thr* plush 
hats sell for $ while the felt mas: x>-'ji.v ,J| up. 

(3) Reserve 

2^11 her if there is any reserve of the merchandise r.he is selling. 
If they ure in the department, shov; her v/liere ohe cau g.Tt them. If she 
is to ask somebody about them, tell her jr^t whom to ask. 

Test Quo.'? t ions 

1» V5fl:at would you rel.v a new salasperson 
about the stock in the dspa^-trcont'? 

2. Ha^^'e you knc"m ■;£sey when now girls were 
given no information at all? '/That was the 



/ 



- 4 - 

result? 

3. Vihat ^vculd you tell a nwr salesperson 
anrl show her aViout uiaterials? 

4. Eeplain just what you v/ould show her about 
sty? es . 

5. Hov; could you help her about colors, sijtes 
and prr'ces? 

6. Mention tv/o things that a new salesperson 
should be told about reserve stock. 

C are of S-';ock 

6* What is meant by "care of stock" and v/hy is It important? 

Care of stock means keeping the merchandise in good conlit-on and 
in such order that it say reaa.My be found. Both these facts are essen- 
tial if the goods are to be ea-sily sold. If '';he merchandise iookr mesdy 
or soiled the customer will not care to buy, and if ths salesperson can 
not find v/hat she wanta quickly, she may get impatient and go off with- 
out buying. 

f»' At What time should care of stock be undertaken? 

Care of stock should be unde:^taken early in the morning before the 
customers arrive, during the day when not selling, and before closing at 
night. 

Test Questions 

1. TJhat does "care of stock" mean, and why 
is it important? 

^« Have you ever decided not to buy because 
the stock keeping was very poor? 

S, Can you think of some stock tliat is espe- 
cially v/ell car'5d for? 

4. When must care of Ptock be carried on? 

5. Is 5.!; por.sible to put much stress on car© 
of stock? 

8. That are the ea''l>T,ac-n&ng dut\t.g? ^ 

(1) Dusting and cleaning 

Most merchandise in a millinery department is put awsy either in 
a case or drawer at nighty leaving the tables and counters bare, s'jores 
differ ^.s regards the cleaning and dusting of the tables and counters. 
Some stores have ei:trs heC.p to do this cleaning, while others require 
the salesperson to keep her cases and tables clean. If you are respon- 
sible for the cleanliness of your »*ae or table, go over every bit of 
surface carefully with a duster, and return the duster to its proper 
place. Where there are covers, fold them and put them away. 



- 5 - 



(2) Setting out the merchandise 

TatoJ the merohandiBe out of the drawers and display them as direc- 
ted. 

Brush or dus^ every article carefully. The following method for 
brushing hats is used jn one storo: 

Irc-.p. salsspsrson has a soft brush and a velvet pad. 5Ihe 
brusho.'s are ii.sed foi* wi'vtsT faorios "such as duvetyr., velvet ^ eta. V/hisks 
are ri.^ver v.snC. as they removt the nap. The velvet pad is used for silk 
and nt3.'awv I u rem-sves the dust and brings out the :?inish. 

Bsoh salosperson is required to brush every article in her 
stock every morning. 

(3) Pilling in stock and arrangijig displays 

Uerchandr'.'je 'ii a mijl\ner^- department is usually displayed accjord- 
ing to a color scheme w^rkert. out by ■t^'■. buyer or her," ai^sistant. litis 
scheme is probably ;.hanged tv70 or th:Q3 oiaos dui-'ing the W33k- The sales— 
peop?.e usually ioM<-^' Srho direct ions g}.ven thorn in ar-rangiLg -'.he-.r par- 
tioular stocky in aocori'V.ncs '.vith tbic general p.lan for th& whoic aepar*- 
mento tepartmer.ts n\xf.e-<- as T.-eeav<ii bho amcun;- of fi>93dom individual 
salespeople are give^ I'Oth aj r^gp-tds fr'.liing in stock and display, so 
that it is necessary for tne new salesperson to find out the pract'.ces 
used in her particiila;.; deparctmcnt. Hen':e, yoa should finu out Trora the 
buyer or head of stock wtoich of the following methods you are tc follow, 
and go aheaAt 

a# Pill in your O'.m stock and arrange displays. If so, learn 
how this is to be aoae. 

b. Tell the head of stock what uarchandJse is needed and leave 
the filling and arrangement of display to some 01*9 else. 

c. leave it entirely to some one else* 

(4) Arrangement of stock 

See that you have the right merchandise out. 

See that, the displays are m order — that hats are properly set on 
thfe stands,, or neatly laid on a table, or triJm^ngs neatly and ta^steful'iy 
displayed . 

See that the price stands ai-e up* 

See that the mirrors are on hand, or pads for showing trinmings. 
(5j Inspection of stock 

Inspect the merchandise for defects. 

Heport any of the fo3 lowing defects to the head of stock or ass is- 



a 6 - 



taXLt buyer. 

Lost or soiled tags. 
Blpped. or torn l:.nxags 
Rij^s, breaks or tears 
Shortages in stock 

(6) Oeoasional jobs 

Uovixig stock or prepaslng for a sale. Follow directions ^iven you. 

Taking inventory^ This is ns'-ally done under the direction of tho 
head of the department or her assisianv, 

l^st Qvies tJQPS 

1. There are sis chief early morning duties 

connected ?Tit'Ii ca.r-e of stock, VS']?;at are ^-hey? 
E. How can ■';hose diiMes bs learned? 

3. Tfliat cauticns should be observed about filling 
in stock? 

4. Mention the imFortant things to notice about 
inspecting stock. 

5. Tell ab'^ut a sale that was lost because a sales*- 
person had not properly arranged her stock. 

9. What are the duties during the day? 

(1) Stiai^tening stock 

Use spare moments in keeping stock in order, returning merchandise, 
straightening the merchandise , etc. 

|2) Pilling in stock 

See that your stock is filled in as the merchandise is sold, either 
by doing it yourself if th'^s '^ your jofc or seeing that it is done by the 
pe.^eon in charge. Foi- exarro^lo^ call the stock girl if she is the one to 
get the Merchandise from reserve., 

(3 J Frepai-afrion for sales 

Help to prepare for hour sales under the direction of the head of 
the department. 

(4) Hetum of merchandise 

Find out whether you should return merchandise after a sale, or 
whether that is to be left ot the stock girl. 

Ask whether you are to replace merchandise during the sale, or 
simply lay it aside raatil the sale is finished. 

Jl;..j. 

(5) Taking precautions against soil 



7 - 



uC*ic:c p.xil observfc the precauticms taken in your dfepai-tmont a{]5.3nst 
soil of -aOTcnanuJse. 

PaJs may be placed on the counter on which to display doilijAts 
trirsDings , 

Tables and cases usual] y have a pad or mat of some kind on which 
dol'cRi-<=' hats can be lar.d instead of on the taioovered dres-^ing tables 
before which a customer tries on a hac and which are likely to be dusty. 

(6) Preparation of nerciiandise for v/rapping 

Find out how the merchandise Is to be handed to the wrapper^ \7h9th3r 
anythirig imst be done to the price tag, such as writing on :• t yonv ?=a.J.f»E 
number, and date by which it must be returned, etc., or te?.iing ^i; \n 
half so that the stub cay be kept for inventory. Ask whether yo^: or the 
wrapper should do this. 

Test Questions 

1. Learn the chJef duties connected with cara cf 
stock during the dr-y, 

2. Whcii, should you do v/il;h returned raer'^handise? 
3* Hen lion severail ways of preveu';.ing merohanc 5 st 

froE. bi^cor-ing soil-sd. Are alT these va^s car^-ied 
cui- in ynur dot^r'bmr-ut? Do you kurw an^ o'-hov v/ays? 
4. Just h'jw r.hould mercTiandise be prepared fOx* the 
wrapper'? V/hy are '.hese rules iTportant? 

. o'hat are the du t ies at n i pht? 

(1} Return of ceichandise 

See that all £,oods is returned to the proper sections. 

See that all merchandise is put a.ay in its proper place, either 
in drawers or case^. 

(2) Covering the merchandise 

If any tables are to be covered see that this is done. 

Remove the signs and return the mirrors and any other articles used 
in iiellin^; to tUeir proper places. 

Jest ( Questions 

1, "Why Is it very important that the merchandise 
sTiould be returned to the exact place from vrhioh 
i- w-s i;ak«n? 

2. Do you have any rules for the way the merchandise 
should be put away? If so what are they? 



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CLASS TF ICAl'T ON OP S-rOBK 

11 , In w h ai: wa.v does a knovvledge of how the s tock is classified help ia 
p elling? 

(1) It helps to g5.vfe a definite idea of the kind of merchandise 
carrie<3i. 

(2) It heJps in learning the location of stock. 

12, What kin ds of articles, are carr ied in a m i llinery department? 

ilSiere are four kinds of arf.oles carried in a. millinery depertmen-'-: 

(1) Trimmed bats ■ 

(2) Unt rimmed hats 

( 3 ) Irimm3.ngs 

(4) Findings 

These articles tM3 3. usually he found, in separate sections* The 

+ritftmft.d l!a"i« generally occupy the oentjal sections, untrimm'id ha';'^ 

a section by themselves a li^^J,e i^o one side, and trlmnings at a spooial 

counter, probally near the tint.T.lmmed hats, ' 

The matrons' and the children's hats also usually have separa-te 
sections to themselves. 

13. How may articles In. A millinery depar^ent be easily located^ 

(1) By the price 

(2) By the color 

(5) By the material 

(4) 3y the style or shape 

Therefore the salesperson should know what at-ticles are carried 
in her depaiiment as regards price, color, material and style or shape 
so that she can locate merchandise quicKJ.y. 

14. Hov/ are the articles in a millinery department arranged according to price? 

H^ts Whether trinmed oi untrimmed aro generally arranged on the 
floor according to price, hais of the Rame price or within a given range 
being placed together. Jor instance, the ejipensive hats are usually dis- 
played in separate rooms, frequently called the "French" roomc. The bet- 
ter merchand..r<5 5.3 ^Isc displayed in glass c^ses while the less expensive 
hata are xo be found on the tables. The more expensive trimmings are 
also displayed tOtiethei'. 

Another classification according to price is into regular and sale 
stock,, 

(1) Regular merchandise includes merchandise which have not been re- 
duced and which have not been bought especially for sale purposes. They 
may be expensive, medium or inexpensive in pr.ice. 

(2) flalfli merchandise incltaies hate which have been reduced or bought 



- 9 - 



especially for sales. Ha<;s may be reduced because they are sticV:ers 
and won't aelJ., or becauco the buyer wished to use them as leaders to 
draw trade. They icay bo expansive ,, medr-jm or inexpensive in price, bu-^ 
always offer "special value" as an attraction. 

Test Quest5 -ons 

1. What is meant by regular merchandise? 

2. J.n geJjora.l what i.s the d^'ffersnce in price between 
imported and doaes^i.-:- ba'^p? 

3. »7by ar^i certain ha';-s classed as sale merchandise? 

4. V*8ie may expensive ha+s be displayed? 

15 , H»Ar are articles in a mil linery ^d epartirent ajrarged _ac c.ori ine _tp col ir t 

(1) There is usually a distinct division made between: 

i. Black hats for mourning 
li. ;;olored hats 

i. Hats for mourning are usually In a section by ^toselves* 

il. Hats of the sane color are generally grouped together so 
that it is a simple natter for the customer to find the color £/ho wants, 
or for the salesperson to get it for her. 

A sile variety of shades are used and each year novelty 
colors are introduced. For a list of the colors used in millinery see 
Book IV, Chapter I, on Vocs-bulary. 

(2) Trimmings of the same k:.nd such as red roses, blue ribbon, black 
plumes, etc., are put together so that the salesperson can os^ily turn 
to the color she \vsints. 

Tes t Questions 

1,. What are the standard colors in your stock? 
2* V/hat are sjme of tht most popular shades used in 
your department this season? 

16. In what mater'.a?.9 ar e hats car ried? 

Kats, whether trimmed or untriimed, come in straw, felt, fabric 
or fur. 

17 . Vto,t are the most ijppor^a a-': s';ray materia T.s used? 

Straw hats may be referred to simply by the kind of straw used, or 
more definitely, by the irind of braid ussa. The principal kinds of straws 
and braids used are as fo"Llc>7S: 



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European 

Artificial silk 

Chip 

Horsehair 

Leghorn 

71iX?.n 

Fyroxi-'lin 

Straw 

South American 

Panamas 
Columbian 
Scudorlan 
Peruvian 



Straws 



giaids 



£uro7?ean 



Chit 

Grasses 

Hamie 

Tec'do 

Pa?JBS 

Heup 

Imxtation Panama 

Aduirba . 

Toj'O 

East Indian and JPhilippin© 

BarLbo 

Buri 

Kais le 

JSmda 

Farabuntal 

Ra-tan 



A*J»*Aft 



Chip China Piping 

Florence Tuscan Chip 

Horsehair 2omp 

Imitation Hemp or llohair Braid Japanese Hemp 

Lisere Split Sennit 

iyrox>'lin Hamie 

SwiBs Hemp yeddo 
Visca 

lb. ^CTiat different kinds of felt hats are carried^ 

Pelt hats are made from wool, fur, shoddy, or mixed, Ihey are 
frecjuently referred to by the finish used as follows: 

Sofi; hats 

Sf>.itT hats 

Hs-c-i vvith dense erect nap (velour finish) 
Hfit*? v/.lth lo»ig hair (scratch or oohair finish) 
. ■ _ HBits w?.th polished flat nap 

17, \Vhat mater i als are used for fabyic hats^ 

Fabric hats come in the following naterials: " 

Pile fabrics- VeJ-vets 

Lyons 
Mij-ror 

Chif :on 
Co1;ton-back 



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Happed fabrios- 
Sllks- 



Plush 
Beaver 

ieate? ClJth 

Velour 
Dnvetyn 

Corded silks 

J^ille 

Gros ci« Londre 

Grosgraln 

Llolre 

Crepes 

Canton Crepo 
Georgette 

Satis 
GJaffeta 



it'ets aad Laces- 



Miscellareous- 



Llaline 

Tulle 

Chant illy Lace 

3hado\7 Lace 

7al Lace 

Chenille 
Metallic Cloth 
Novelty materials 

Ootton-and-llnen 



Crash 


Gingham Lin 


Crepe 


Orfaudie 


Duck 


KnJ 


.tted Cotton 


EpoBge 


Pongee 


)1 and -leather 




Brushed wool 


Suede 


Kritted wool 


Suede-like 


Leather 




Tweeds 



New fabrics, straws, and combinations 

20, \^Ibi\t f ur s are used for hats? 

The following fure ate found both for the body and for triraraings 
of hacs^ 



Beaver 



Moleskin 



IZ •^ 



Broad-tail lamb Slonlcey 

Caracul Cpcsmm. 

Ermine Baocoon 

Hudson seal (dyed muskrat) Soal 

Ko3.inslQr Sq^'.ijrel 

UiDk Skunk 

21. Of what materials are trimmi nfis madQ? 

!Ehere is a wide variety of rraterials need in trimmin^B, de^ejidlns 
on the five kinds of tr.-mm^.n^ used, namely t 

(1) Feathers 

(2) Plowers and fruit 

(3) Hibbons 

(4j F^hvioa and fur 

(5) Ornaments, bands and embroidery 

(1) Feathers are one of the most important materials used for trimm- 
ings. 

(2) Most flowers and fruit are made of muslin. Foliage is made fre- 
quently of velvet or velveteen* In the more expensive flowers and 
fruit, plush, satin and silks are used. 

(3) Silk is the impcr^tant material used in ribbons. Below is a list 
of silks frequently used in r:7,bbons. 

Antique Qrossra-x-a 

Bengalin© Lottisne 

Brocade Mes saline 

Changeable silks Metallic cloth 

Chiffon Moire 

Cire Plush 

Double faced Sa^in 

Dresden Taffeta 

Faille Velvet 
Silt and silver 

(4) The fabrics and furs used for trimnin^ arej 

i. Any of the short haired furs used for the foundations of 
hats* 

ii. The follov^ing fabrics 

Bridal Illusion Leather 

BruBSels Met llaline 

Chiffon Metallic cloth 

Gauze jTet 
laoe 

(5) The materials used for omaments, baiads and embroidery are: 

i. For ornaments the follov/ing materials; 



.- iZ - 



Bone 

Celluloid 
Jet 
Metal 



ShoJi. 
Straw 
ifilass 
Wood 



ii* ?or bands and embx'Oidery: 



Foundation materialB of net or other fine material. 

Ornaments of nsaterJ-alB given atove. 

Bnbroidery floss, of cotton, silk, wool, or raetal thread. 



ZZ, ytoatmaterlale are used for aillinery findings? 
(1) Uaterials used for fzwaes are: 



Buckram 

Crlnolin 

Gossamer 

(S) Liniiie& ar« itsd'-v 6t: 

China and Jap aillc 

Maline 

llercerized 

Ribbon 

Bandeaux come in: 

Cot'-on (heavy) 

'iUffeta. 
Velveh 

(3) The weights of wire uoed are: 

Cab''.e w5,re 
Frame \7ire 
Idoe wire 



Rice let 

WilliTW 

Wire 



3atin 
Seco silk 
laffeta 



Spring wire 

Tie wire 
Hibbon wire 



Olest Quest J on e 

1. Check sJ'K the* rr.tei'ials mentioned in the last 
si:: q";e£t-io'J.s. 

2. \Jba^z are five of the most popular materials 
used for h&.':s '.his season? 

2* ITaaie one novel r,u .material you are selling. 

^ • VtA i/_. styles are carried in millpnary -i' 

Tnere are four ways i:a which the style of ii hat roay be described. 

(1) By referr5.ng to t*s. use. 

(2) By referring to its shape. 
(jj By referring to its trinming. 

y-l By referring to the designer or taanufacturer. 



- 14 - 



(1) There are four important styles of hate carried when uso is con- 
sidered] 

i. liress hats 

ii« Street Jjats 

Hi. Tar.loi'ed hats 

iv. Sport hats 

(2) Xhere are five Important different sh^ies used: 

1, Straight or flat trim 
ii, Rolled brim 
Chin Chin 
Irregular 
Tricom 
ill. Drooped or curved l)rim 
Cloche or musliroom 
Picture hat — Qafnnboro 
Poke— Charlotte Oorday 
Direotoire 
It. Sailors 

Straight brim 
Rolled brim 
r. Off-the-face hats 
Tarns 
Turbans and toques 

Hats with high froiicuff (usually close fitting! 

(3) Hats may be also described by the way they are triimned, ast 

i« Barded 

ii. Dnbroidered 

iii« Feather trimmed 

iv. Flower trimmed 

V. Pur trimmed 

Ti. Ribbon trimmed 

(4) The imported hats and copies of expensive models are frequently 
referred to by the name of the designer. The salesperson should become 
familiar with the names and if possible learn to recognize the particu- 
lar characteriet.-.cs of ■'he hats n^.de by those designers whose models are 
carried in her depirtmert. Besides the designer's, the manufacturer's 
label, th© saj.espersca should become familiar with the brands carried. 
She can often do this by looking inside the hats for the labels. 

Jest Ouest!(.ons 

1. Check the styles you are now carrying in your 

department. 
2» Which styles have been the most popixlar this 

season? 
3, Find out what Preooh models you carry in srour 

dopartment. Bo you carry branded hats? 



:i5 - 



CHAPTER II. 
YALtJE V;niOH A CUSI0i2:H LOOKS FOR IN BUYING 

2A. What does a customer looK for when she bays millinery? 

Practically all salespeople agree that style is the most important 
thing a customer looks for in buying mr.llJJaery. A hat or trixcr-ins may 
be of good material, reasonable in price, even oecoipi^g to 6e>ms ezz^'SrA^ 
but if it has not the style that the customer is luoklng foj.' siie v/xli not 
b'"y *.t. In fact, a hat may be br^sht which is ytiite unbecomn-ag aud prsj?- 
b3.y not even very comfortable s5jnple because it has that indef irabls some- 
thing about it which we call style. Of course, in most ras*?s, other con- 
siderations enter in as well. The customer wj.shes the arti'-'le shn b^ys 
to be becoming, to wear well, that is, be of good quality, and to feci 
comfortable, as her questions and comments about the merchandise show, 
but these are secondary to the main point of style. 

Ehere are two aspects of style necessary to consider. Style may 
be considered apart fran the wearer — in the hat in the hand; or as de- 
pendent on the wearer — in the hat on the head. A hat when held up by 
the salesperson may strike one as having a great deal of style tia": ■w^.en 
tx^.ed on a customer lose every bit o.f smartnoss. This same ha<; on another 
customer may look extremely chio. Orj, a hat may acquire style if woin 
by of^rtain customers, or there are a few fortunate people -^l^o can w^ar 
p.ro-tically anything with distinction. Style in a hat or trin w'len oort- 
6;\o.8i'ed in thr".s way, in connection with the person who is wearing it, is 
a ia'itor in becomingness , and when this if* the case, becomingaesii no long- 
ev.- f'iT'S.^s P- eecoBdary cons 5.derat ion but becomes one of the most important 
values a customer desires. 

The partiCTilir service a customer will requ5.re of an article varies 
with the use to V7rj.ch the customer wishes to put it, and with different 
cn^lomsre. For cianiple, for a dress hat, or trimning for a dress hat, 
qr.'.Lo •i?abcra*;6 rtatcrial would be needed. In such a case, since dross 
hat,? gac less wery '-hax. street hats, the customer would probably be more 
interested in 3T)pGaran'je than in serviceability. If, on the other hand, 
she wishes to buy a, hat for steady wear, she would be concerned consider- 
ably with comfort and sei*viceability — she would not care for perishable, 
di-'orpy styles v;hich would grow sha'.by quick3y. Customers also differ 
amonK thenselves- Some consider style a>iove everj'thing else, while others, 
perhaps bersause of the necessity of wearing a hat more than one season, 
look for ser/iceability. 

So we see in buying a hat or trimming a customer wants not just 
8 J me thing to wea" on her head «jr put on h3r hat, but wants an article 
which will give definite service, su;h as appear stj'lish, be becoming, 
Wr? ' woll. For oonirenience in talking about the meichandise, then, we 
oali these services an article gives "va].ue" and in talk.ing about tha val- 
ue U customer looks for in buyirg, we are simWy referring to the service 
she expects that article to give. 

.?§.? i jgixest lons 
1. \/bat is the most important value a customer looks 



- 16 - 



Test Q uest ions 

1. l]ha.t is the most important value a custcsaer 

loo>G for in n:llinf;i'jrv 

2, Under T7>*ri. '; tvjo different circumstanoe^ laay a 
h3.t ho-ve style-*? 

3« ^".i; wa-; K6rtnt "by the remark "In bryirg a hat 
or ti-irjining a cistPmer waui-^s not just sin;*? thing 
to wea-^ cf. h<^r head or put on her h^itj'* V^J/S-t 
olss does sh3 Vi-ant? 

4* Does the use fci* which she \7ants ths article d«- 
tertaine at all xflst yalues a custoirer WiJl \f♦t^a* 

5. \/hat are &cnie cf th^ vcasons why a cu-vtcrBr iikij' 
want different values at different tir.eSj, or w?,y 
different customers may not want the came -Taint.? 

25 . What are the main values a custo mer looks for in buying m i llinervY 

Customers show by the questions they ask and the comments they 
make about the merchandise that in buying millinery they are interested 
in the following values: 

(1) Style (including appearance, individuality and trade name) 
{2) Becomingness and Suitab-'l^.ty 
(3) Serviceability and Comfort 

In considering the style of a hat a customer may be concerned with 
one or all of the following facts: appearance, individuality cr trada 
name* bhe may ask for a hat of a certain shade, sliape or material, 
showing interest in the appearance. Or she may ask for "somsjthing 
different", eiipressing a preference for individuality, or being still 
moieexplicite, may ask for a certain make or model such as a "Maria Guy", 
or a "Hose ©escat" model, or a "Gage" hat, ar a "Breton Sailor," 

Int^reet In becomJngness is shown in such remarks as "Do you think 
l:.Bhouia wear a Ba:\lorr',, "I rather like that side line, don't you?", 
"Oh, no, I can't wear yellov/; it kills any color I have,", "I must have 
a hat that is off my face«" 

V/hile as a rule o.'>tomers are not primarily interested in the ser- 
viceaWlity of a hst tbey do freqnont:.y ask such questions as "Will this 
spot?', "Ho these feathoT-s we,?.- jfoaIc '^- ^''■■^^' I l^avn to cover them?", 
"Can this strav/ be cl?ancd and re. blocked?" IntcreiSt in comfort is shown 
in such comments as "r?hi^j hat binds across the forehead. H«ve ycu a 
different shape in the same color?", "I want a small hat v/hich will be 
comfortable for traveling." 

Besides telling what value a customer wants from her questions and 
oomments, by ;vatching the V7ay in which the customer handles the merchan- 
dise a SsLlesperson can tell where her interest lies. If she spondt, must 
of the time trying on a hat at various angles without examining it par- 
ticularly she is probably mainly interested in appearance or s';yl3, while 
if she examines the hat or irimming carefully to see how it is made she . 
showa interest in serviceability. If the customer looks for the price 
tag the first ttiiig the salesperson can judge that the amount the cua»;oiaer 



- 17 - 



will pay for an article will be a seriotis consideration. 

Hence a wid^-awake salesperson need never \n a^"; loss to find out 
\*at the customer is interested in, for by ler.rnr'ng to size up a ci.s-^ 
tomer, to show goods effectively, and to qiissticn skillfully, she can 
ff'TTner or later draw the *astoiiier out to exiTess what she wants. 

Test Question s 

1. Thini of an article a custorrjar seid shp 
wanted and decide on whf-t ra.Lr.es she wf.s 
looking fo:-- 

2. In what ways can a salesF'=>rson find ont what 
values a customer is looking for? 

3. Recall several questions your customers have 
askec, and think v;ha.t values they were innuiring 
aboub. 

4. IThat are the main values the customers iook for 
in the merchandise you are selling? 

5. '.fliat i-ari icular values do you look for in buying 
mill in s:^'? 

6. \?har. facts may a customer consider when she is 
looking fo:^' si;yle in millinery? 

7. Bhat quBbtions hive customers asked you about 
style? 

26 , Tr.!hy should the salesperson kno^v the v alues of each article? 

A. salesperson should knov; the values which each article will §ive 
the customer for four reasons.. 

(1) To enable her to answer the customer's questions-. 

(2) To help her in justJ-^lng price to the customer. 

(3) 20 make her selling talk convincing — that is, to be able to 
point out the good points of the merchardise, and to mset 
the custorer's objoctiions. 

(4) To help ner in selecting the right kind of merchandise to 
shov/. 

(1) Nothing is more likely to exasF*5rate a customer or dostroy her 
confidence in a salespoison thsn askjng her questions about the m«)ichan- 
dise she is celling ard having her unable to answer or getting an .in- 
correct ansrer» Hence, it is very essential that the salesr-erson should 
have the information which will onable her to answer the many ard vai-ied 
questions she 5s asked from day to dp.y. 

As has been already indicated, the questions asked by customers 
refer to the value she if. inierastsd in getting in purchasing her ma-^chaifc- 
d^.sr ■ Inmillinory '7e xcn-nd xIjp.^s. questions maJnly cnnorned ^'ifch appear^- 
arjce, individual itv pnd trr.de nare; or in a large sen^-e, \7i-^h style, be- 
comingness, serviceabil:' ty and comic rt. 

Besides questions uSiich refer to certain values a customer \?ants, 
we find the custoroer frequently acicing about price. Price itself is not 
a value, for it is the money a customer exchanges for certain values re- 



- 18 - 



celved. Naturally, she wants to feel that she is getting her full shar-? 
in values for the aoney sha is giving in return, whether it is a ?.ar'5a 
amount or small. If a custoner "buys an expensive hat, made by a French 
house, for instance, she rcajr he getcing certain sat.isfactions hrsarise 
of its exquisite lines an?, individioality,, and also from the fact that it 
will make a certain impression on her friends, wiiich will rraks i-.p for the 
difference in price. On the ether hard, she will denjand cer-iain satis- 
factions just as rfflich in buying a tooclc- -about sport hat, altho-.i^h tbay 
v/111 be different from the valnt-s given in the first puarohase. This 
time she may be looking for cccir'ort or serviceabiiity particularly in 
addition to becoraingness and a certain degree of style. Tor th^'s reason 
the salesperson froquontly f iada ^ ; necessary to justify the prf.ce tc a 
customer. Unless the EaTuesperson knov/s the values of her irerchc:,nd.\se, 
she cannot be very convincing in proving to the customer that the price 
is justified. 

It is necessary not only to know the reason Why an article is ex- 
pensive but also to be fcvmiliar with reasons why certain articles have 
been reduced. A oustcoier will not be willing to buy a hat or p:'eoe of 
trimming just because it is chee.p unless she feels that it will give a 
certain amount of ser/ice, Bn'i if a salesperson can assure her that she 
is getting exceptional value in the puvsjhase she is more than ready to 
take advantage of the offer, 

(2) In asking about jprice the cusfcomer shows she is interested in the 
values she is getting in return. For example, she frequently \m.xitB to 
«W\t why a certain hat- has been reduced, whether because it is datraged 
or because it is the end of the season. Ihe <juality of the merchandise 
comes in question ?n the first case and the point of style in the second, 
for if a hat has not been sold it is probable that it has not proven to 
be a very popular modelo Or she may ask the reason why one hat is so 
much more expensive than another, in this vray trying to see just -sihat 
value she is getting in either case. If she can be convinced that the 
more expensive hat does offer certain values she had overlooked at first 
glance, she may be persuaded th-at the difference in values is worth the 
difference in price, aad buy the better hat. 

Knoring 'i;he values of her merchandise should help a salesperson 
not only to ioicwwha-^; So sa-y to a cvstomar in justifying price, but also 
to avoid misrepreFeiitJjig t?-'3 merchandise and using the extremely Iiad 
policy of naming down the m3rc:iG;adivSQ of conpe-lators. 

(3) I* a salespex'son imows what values her merchandise can give, sh© 
will be able to choose what to show the customer much better than if she 
is uafa;niliar with her stock. For example, if a customer asks for a 
straight quill to wear oi. a brown hat, or an inexpensive sport hat, pre- 
ferably in blue, the salesperson will know what particular styles she 
has \/hich will be suitable to show her; aai she can bring them out at 
once, saving the custaaer's tiiie and not confusing her by showing a lot 
Of merchandise the custoraer does not want. On the other hand, if she 
doesn't know her merbh.nndise, sJie nay spend a great deal of time showing 
articles the customer is not interested in, or may take an unnecessarily 
long time trying to find one itfhich sh© thinks ought to suit. 



^ 15 - 



Test O^iestions . 

1. vyha^i are the reasons why a salesperson should 

know the values- of each article :.n her sccck? 

2. Thi.nk of an example showing ^7hat ha]-.poned w/; n 
a salesperson could not ansv/er the customer's 
questions. 

3. V/hy iray a lack of knowledge of the values of her 
merchandise cai^se a salesperson ■•"o Kiijrepresent 
the mei'ohan'^.ijp or run do\vr her compei-Tiur's? 
Give an example of each care. 

4. \lhy does a salesperson frequently find it necesn- 
^^? • *'o justify prico? 

5. Hov7 may a cu.atomex' r,ho\7 she is interested in val- 
ues :.n the questions she asks about pric^? 

6. How does knowledge of the values of her merchan- 
dise help a salesperson to select the proper ar- 
ticles to show? Think of an illustration shov/ing 
hovi; lack of this knov/ledge spoiled a sale. 

27 . How can a salesperson learn to .iu dge value? 

There are three principal ways in which a salesperson can learn 
to judge values. 

(1) Studying the merchandise. 

The salesper6c-> should examine her merchandise carefully, notic- 
ing the different styles, the materials, ^-JJP vfa-y the articles are made, 
the workmanship and any unusual points about an article, 

(2) Collecting information about the merchandise* 

She should find out what it is necessary to know in order to ex- 
plain the differences in the articles or to account for certain values 
to the customer. 

In style, she should knov/ the names of the different shapes, know 
the effect cf the principal lines and colors used, know what hats are 
copies of r&.r.'.s ncdeiis, e<r.c^ t'-l\^ should be familiar with the na.me of 
each material v.st)6. and loiow, f.f tjos^ib'.e, something about its wearing 
quality and hov/ to koep it in good rtcnd,ition.. Sometimes, when it is a 
novelty na-^,ori."l, thi'S cannot be kncvm xintil it has been in use some \i. 
time, but oxdinarJ.ly some information ^long this line can be obtained. 

This infomation may be collected from various sources, A great 
deal f!an be found by reading textbooks, merchandise manuals and trade 
publications on the sub^^cct-, Th*^ snjzers and older salespeople also give 
most valuable and pirrAyca.?. infoima+.ion, 

(3) Eotioing the questions, remarks and appearance of the customers. 

Some of the aiost valuable kinds of information can be piclied up by 
listening attentively to the questions the customers ask and tue comments 
thoy make about the merchandise. This enables you not only io know 
in advance what kind of questions and objections to expect, but it, 



- 20 - 

also frequently gives you talking: points \\*iich you mi^t have over]oolred. 
Cvustomers constantly throw out si^ggestions which, if the salesocrscn is 
clever enough, can be used most effectively in selling to someone el-.e, 
V/hat the customer hersriXi" is v/eai-ing often helps in suggesting idoas to 
others, such as a certain style veil or a trim put on at a hecoiring • 
angle. Customers frequently offer suggestions as to ho\7 a hat va.j be 
altered or explain "fyow Wjay have done it themselves by changing the 
shape a little, or altering the position of t?ie ornament, or veiling 
the feathers, etc., all of which information can be used to gre&t ad~ 
(rautago by the salesperson if she but realizes it. 

T est Questions. 

1, In v/hat T;^ys can a salesperson learn to Judge 

valLues? 
E. v/hat kind of inforoatiou should a salesperson try 

to find out? How will she use the infornation? 

Think of an esample; 

3. when *.s the best tine for a salesperson to study 
hei menhandise? 

4. V/h£.t should she notice about the merchandise when 
she studies it? 

5. \/hy i6 It iiaportant to notice the questions and 
remarks of the easterners? 

6. Fieca.i.l some infornation you picked up f rota, a cus- 
tomei" and show how you used it, 

28. I^ow nmeh informa tion about the merchandise should the salesperson give 

the cuotOLier? 

Ko one v/ould be so foolish as to believe that a salesperson should 
give the customer all the inforr^iation she knows. In fact, it is wise 
to give just as littlP inforr^tion as v/ill satisfactorily and clearly 
explain the particular point in question. The salesperson should give 
the inforr-iation fov the sake of making the statement as concise a^id 
definite as possible, and not to show how much she Knows, Tbat thex*e isa 
danger in telling too auah is shovm in the fact that some buyer* think 
that if salespeople kno^v about the merchandise they will bore the cus- 
tomer bj' telling her facts that the customer is not interested in. 

It is not necessary to bore the customer in giving her infoitnation 
about the merchandise if the salesperson bears in mind the following 



factst 



(1) I!he purpose of giving infornation is to explain values, net 
to sjioiif hov/ much you know, 

(2) ©le information should be directly connected with the value 
you are trying to show, 

(3] Only as much infOKiation should be given as will sufficient- 
ly explain the point you are trying to make, for if the cus- 
tomer is yex-;^ interested to hear more about it she will ask, 

(4) Information should t>e brought in as part of your conversa- 
tion, not reeled off in a dry voice as though you had 
learned it by hear. 



- Ei - 

(5 J What you should say and how much should elways depend on the 
way the cus •'••oraer rece3.vcii ii;. If she laicwa \im^ you are 
tellijig her;. don'~ irrigate her Tiy taking he:? Vhae nji re- 
peating v/ha/ she alraedy knows„ or if o>'e ,<!io^7s nc ■'zifc'irest 
at all, don't insist on telling her facts she is no^ i'^.ter- 
ested in. 

While the salesperson is not expected to gi'^^e out all the infor- 
mation she has, the fact tha-^ che ha£ this mforcjatlon -vUl h3u.p hCT 
to see values, and to call them to r.he customer's attfin;ncn- lOid 
follo^viag Illustration will help to malie *hic p^in*, •-ilet-.r. 

In selling a straw lat, for ins^s.rioOi, a salesperson would never 
explain to the customet- tb-t Janama ha-;,s a.r^ irade irom scrips cf uhe 
leaves of the PanaiDa ha*., paijn, plaited ty hand from tr.e ap^x of the 
oTOwn around in circles; and yet if she lme\7 that TParirvtaa h.\-.r. aia "body" 
hats, nade in one piece and therefore '^^y hard, she woiild know ^M ^^^ 
were comparatively eacpensive and wh;£ they wore v;ell, ana ocla ta^k nore 
convincingly about the appearance and quality of such a hat. 

Test Questions . 

1. TThy should info mat :.on he given to the customer? 
Think of some infoimation you have recently given 
in soiling Sao. article which shows this ic nocers- 
ary. 

2. V/hat should decide how much information to give 
the customer? 

3. Can you recall any salesperson who bored the cus- 
tomers by telling than too much? Why do you thiak 
she naae this mistake? 

4. './hat do you have to notice about the customer 
when you g5.ve her the information? Think of an 
example showing how you did this. 

5. Think of an example shov/ing that it is valuable 
for the salesperson to have the information, "ven 
though she doesn't give it all to the customei*. 

29 • On vrtiat do the values a customer looks for in mlllineiy depend? 

V/hether an article will have style, be becoming or wear well - 
in shortj. whether it v;ill give the customer the various values sn© 
wants', depeno-S on two things: materials , including the kind of material 
used, the way the material is made; and the man ufactT?r e or th^ ir^y ;he 
the article is made. 

These two factors will be considered in detail in the following 
questions. 



- 22 - 

CIMlPIER III 

lUFOEiaTION ON L1A.TERIALS IHD MAMUPACTURE MECESS&HY TO EXPLAIN 7A1TJZS. 

30* 'What' are the •parts of a hat it is n Rce?3sarv to rotJce in considering 
tl^e va t-u es a custcmer . looks for in t -avj.aa mjjlxngyy.. 

In studying the values a custcmer desnres in 'buying millinery 
we finl that there are three distinct features wh?.ch go to aalre wp a 
hat, but which may be sold eoparattly: 

(1) Tha hat body 
(P.) Ihe tr:'itrn5.ng 
(S) Ihe findings, such as lining, wires, fy&me, etc. 

The trinmed hat usually contains the three features; the untr5jiimed 
hats, as the name implies, lack the tr^nr-i.ng and soae-trines b.v-2 uraliced. 
Henco, either the hat body, the trirnnin?;, or the frame and lir;.lTi,>iR, etc. 
can be bought separately. For this rc^-vson it will be necessarj' co con- 
sider these features separately in some of the following discussion or. 
materials and manufacture. 

Test Questions . 

1. V/hat three features go to make up a trimmed hat? 

2. Are trimmed }iats ever unlinod? If £'»,, what kinds 
do you have in stock? To you have any lined vm- 
trinmed hats in your stock? 

3. V/hat findings do you sell separately in your de- 
partmant? 

4. Wiat are the two points which determine the values 
a customer looks for in b\iying millinery? 

31- y/hat f^ots about m ater ials and tjhe v»ay a hat is made affect values^ 

Materia ls used in millineiy includes materials used in the hat 
itself, in the ^rimming and in the findings. Only such infoitnation will 
be given about the different kinds of materiale that are used and the 
way they are made as will enable the salesperson 

(1) To recognisse the important materials. 

(2 J To ansv^ei the customers' questions about thffli, 

(3) TO suggest ways of hf-eping them in the best condition. . 

i^ovelty noterials, of which there are a great number in a millinery 
department, will not be discugued in detail becaure, first, su-sh natarl- 
als remain so shore a time in stock that it would not pay to tax the 
salesperson with learning a gre£.t deal of infoimation about them; second- 
ly, as these materials have not been on the mark<»t long it is impossible 
to give accurate and full information on their wearing qualities as 
they can he added to the list of staple materials with which the sales- 
person must become thoroughly familiar. 

However, the s^lesi^er&on should make it a point to become suffi- 
ciently familiar with the novelty goods to recognize them acd be able to 



- 23 - 



tell the customer -.vhat each ore is. If a salesperson can name the ntnv 
loaterial she is talking abaat, as "Here ifa a model in the nc\7 'vilci 
cloth" or'bagatelle*," the custoasr's confidence in her will be iiiCT".s->ad 
for she will feel she la30\;w her merchandise. 

The way a hat is made involves two points, the ma nnfactur e of a 
hat, or the way the hat is put together, and the creation of a ha': an 
an asticle of beauty, in v/hjch such facts as line and color are cors-'dered. 

A consideration of the creation of a hat from the artistic point 
of vie\/ rightly belongs iii a discussion of such values as style and bc- 
coBiingness v/hich will be taken up in detail later. In the follov/\ng di-^- 
oussion the question will be -."hat facts about the manufacture of a hat 
can be brought to the customer's attention in a discussing of values* 

Test Questiops. 

1. V/hat are the three pruposes for v;hich the in- 
forication on materials should be used? 

2. Viliat should the salesperson Icaovr about novelty 
materials? How can she get this information? 

3. \7hat is meant here by the manufacture of a hat? 

How does the material used in the hat affect val ues? 

2he kind of material used and the vay it is trade affects all 
values in a hat to some extent. It affects, first, the good looks of 
a hat, and accounts for its being soft and velvety as d^vetyn, smooth 
and stiff ^ike felt, straight azid stiff as a Uilan sailor, or lAl^t 
anfi droopy as a leghorn. 

The distinctiveness and becomingness of a hat depends largely on 
the materials used. Soue fabrics spot or rub up easily, some straws 
chip or crack, while others can be worn again and again, looking 3iike 
new \7ith a little cleaning. 

Different aaterials are adapted to different uses. The seasonal 
character of millinery makes this plain. We have out summer hats ard 
light cotton, silk and linen fabrics; the betv/een season hats of felt 
and silk and the \anter hats of heavier wool materials as velvet or 
duvetyn. Moreover, certain raateiials aro only suitable for dress \7ear 
while others .come only in sport styles. Horsehair, velvet, lace, fine 
Uilan straw are oxamplos of naterials used for dress wear,, while cotton 
fabrics, chip and Ramie are used for less elaborate stales. 

Since it is evident that differences in the quality of the materials 
accoxuat for certain values in hats, it is necessary to find out v/hat makes 
these differences am just how the different qualities are affected. 

Test fJuestions. 



1. ./hat kirds of materials are called for a great deal 
a.t the iretent season in your department? 

2, H£*ve you seen ar^r marerials used in hats lately 



«. 24 . 



which you tRought ■were unlbeconiing? TOiy? 
3# What do customers want to imow ahout the dura- 
bility of a hat and how does the material used 
affect this quality? 

33* Tjghat are the principa l kinds of materials used in hats? 

The principal kinds of materials used are: 

( 1 ) Straw 

(2) Felt 

(3) Fabric and Pur 

By sttaw is usually meant any material aade of TJheat or ry© straw, 
grasses, chip, palms, horse-hair or artificial silk. Pelt refers to 
a material made of fur or vrool, the latter frequently adulterated with 
Bheddy (Fiber made of shredded woolen x'ags) Which has undergone a par- 
ticular kind of manufacturing process. Fabric hats may be of silk, 
wool, linen, and combinations of fabric with straws. Various short- 
haired furs are used. 

Test Questions. 

1« "Sifhat is included in the term "sttaw hats? 

2. Of what are felt hats made? 

3. What kind of materials are fabric and fur hats 
made of? 

34 • Qiii what do.^hQ dlCferenoe s in the vgBrJbKejBjaierials. a*e.J33ade_deEes^ 

lihe processes used in manufacturing a material depend primarily 
oa the kind of material used. Straw, for instance, i» woven in a diff- 
erent w^y from fabrics, \*iile the processes used in making felt differ 
from either of these. 

Therefore, the facts about the way the material Is made which 
are important to know will be taken \xp under the special headings of 
straw, felt, fiibric ard fur materials. 

.atr&.w Materia Ifl 

25. V/hat is necesaary ^o know about the kind of materials used in stjraw 
MM! 

There are at least eight different types cf materials used in 
straw hats: 

(1) Straw 

(2) Chip 

(3) Grasses 

(4) Leghorn 

(5) Milan 

(6 ) Palms 



- 25 - 



(7) Horse-hair 

(8) Artificial silk 

E^ch kind has its own particular quality which distingu?.shps :t 
from the rest. Eie most iaportaat fibers used are the foll^.ving: 

(1) S^traw (wheat or rye) 

Straw braid is cade from wheat or rye and is produced mainly in 
China, Japan and Italy. The Italian straw is considered superior, the 
roe.t.hod of planting and growing giving a find tall white dtallc. The 
Asiatic straw is more brittle. 

(2) Chip 

Chip is a wood braid made from Italian, Japanese and English 
willow, or from White pine or Lombasly or English poplar. It makes a 
lightweight smooth hat, with a soft, dull finish. It is inexpensive 
but is likely to break readily, bums and discolors badly in the sim, •■ 
and, deteriorates rapidly in testile strength. 

(3) Grasses 

Yteddo - yeddo is a tall grass grown in Italy, Japan and tSie 
Philippines. 2he hats made from this fiber are loosely woven, light 
and delicate. 

Ramie - The Hamr.e fiber^ wh?.ch comes from a plant somewhat like 
flax, is used in naking cof .".ae, loose braids, IJhis fiber which is 
taicen from the upright seem is long, glossy, silky and very strong. It 
makes a very durable material and is not affected by water or moisture. 

(4) Leghorn 

Leghorn is a v/oven body hat made in Italy, It comes bleached and 
vmbleached in t}iree princi^l grades, Mostali (fine J Mantoppam (medium), 
and ?unta (coarse!}. 

Leghorn is one of the most popular straws in use, being attractive 
in appec^racce as well as sorviceable. 

(5) Uilan 

Ililan is a ccarse bcdy straw used a great deal for tailored hats. 
The patent JZilan is a Chinese imitation of Milan, much coarser, the 
best quality not equalling the poorest quality of Italian Milan. 

(6) Kilms 

a. Hsmp - llanila hem? for hats is mace in the Philippines frwa 
the finest fibers of a epecieE of b.^.nana palm. It is usually known as 
•*abaca" and the braids are known as "taga.1" braids or "tagals". The 
follov.in^' reanons hs.ve been given by Iliss Aiketi on her Mercb.in^ -5 «>» ii<t».»i-i1 
on Jlillinery, for the popularity of hats nade of Manila hemp. 



- 26 - 

1. The ease v^-lth which th.ft fiber dyes and retains the dye. 

2, Ihe delicate colors obtained in dyeing. 
3* Strength end durability. 

4» Light ■weight. 

5, Resistance to moisture. 

6, Natural stiffness together with pliability. 

7, Attractive gloss, 

U, Panama - Panama hats are wade from shredded strips of the 
young, tender Palm leaves. After going through a toughening and bleach- 
ing process the et'^ipfl are ready to be plaited by hand. The result is a 
light, clear, cream colored straw, flexible and strong. 

Imitations of ^rama are the Japanese Adamba* the Toyo, and 
the Pajjoosa, these latter two having as the rar/ material a tough» thin, 
fibrous paper, which resists cracking, bending and pennanent soil by dirt 
or ^vater. 

c. Bast Indian and Philippine - These hats are made mostly from 
bamboo and varictus palms. Bamboo hats are of several idnds, the two 
most widely icno\m being called Java and 'ianila, of which the latter is 
by far most expensive. They are light and flexible and can be recognized 
by the fact that they are \roven double to reinforce for stiffness and 
strength. 

There are three varieties of hats made from the Buri palmj" 
Burl hats, which are coarse and not very durable, Kalasio, named from the 
town where they are made, usually woven double, having a dull finish, and 
Buntal, or J^rabuntal. Buntal is frec[uently called East Indian Kinajra 
or Italian Straw, Hats of this material are strong, light and more silky 
than Panaiaa, and similar to, but finer tlian lianila, 

Pardan and rattan hats are other Philippine products. Pandan 
ha.t0 are of a natural gray or brown color, are strong and wear well. Ba- 
ttan is a velvety, 6a rk smooth straw and is usually made up in a double 
hat, but on account of the e::pense of manufacture, is not very popular. 

(7) Horsehair 

Hair from the naaes aid tails of horses nake a stiff, light, glossy 
braid v/hich is '7oven into most attractive open lace-work patterns, as well 
as in the close even style. The best hats are aanufaotured in S^viteerland, 
the best raw r:aterial coiaing from South America, 

(8) Artificial silk 

Pyroxylin - Tlils is heavily mercerized couvert cotton filature silk 
made to reserible horsehair. It is not so elastic as horsehair and breaks 
easily when damp. Also, it is not so stiff nor so perfectly rounded and 
hence has a different gloss. Hats made of this material lose their shape 
very easily, as the fibers become limp with aige. 

Test Questions. 
J. There are six different types of fibers used in 



- 27 - 



straw hate. What aro thoy? 
2, V/hat is ihe differf^nce betv;een Italian and 

ChJJiese stravT? Vfiit.ch is considered the best? V/h^'T 
3« Wrj".!; i^.r. > chip hets zsado of anl whet are tnry i.iicc? 

4. V.hat two grasses are used for hats and how are 
they made up? 

5, T/hat are the advantages of a iianila hemp hat? 

6. V/hat is the characteristic appearance of a Bmana? 

7. \7hat kind of materials are v?oyo and Formosa? 

8, Thin'.c of three kinds of materials used for 
Phi?.ippi-no hats. 

9, V.hat are the differences between horeehair and 
pyroxlin? 

10. v/hat matei'ials nake light, flexible hats? 

11, VVhat straw materials wear well, and what ones do 
not? 

36 . What about the way straw nater ia l is made accounts for the dj.ffer^enee 
in quality? 

There are two main facts about the way the material is made which 
accounts for differences in quality: 

(1) The \7ay the straw is used 

(2) The way the hat is made 

A fancy braid in the open lace-work effect of a hOJ?sehair hat 
gives an entirely different effect from the fine over-lapping brands 
seen on Florence Tuscan straws. Then, too, a hat woven in one piece 
like a Kinama is distinct from a hat in which the braid is se'.vei to- 



gether. 

Test Questions t 

1. 'vThat two facts about the ttay straw material is 
made accounts for the difference in oualj ty? 

2, How do the hats woven in one piece differ in 
quality or appearance from the hats made of 
straigiit braid? 

37 » What facts about the x»ay the s traw is used sh ould be noticedg^ 

Eats may be made in one piece, in v*ich case they are called "body'' 
hats made up in .leghorn, JJ^lan, I^nama and Philippine stra\?s, or they 
may be made from a strai^t "maid sewed together. The latter are the 
most common. The important facts to notice about braid hats are; 

(1) The appearance of the straw 

(2) The closeness of the weave 

(3) The width of the braid 

(4) The way the braid is fastened together 

The different kinds of straw braids mos"; frequently used are the 
following: 



- 28 - 



European 



£hi£ 



This braid makes a light-^veight 
smooth, inexpensive hat with a 
sof-v, full f Jnish. V/ocd chip 
and silK are soEaetiniSH braided 
together. 

Plor'dDC' 3 T uscan 

A fine whole straw braid, sewed 
together with edges over- lapping. 



Horsehair 

This braid is woven into a stiff, 
light, glossy open lace-^vor^c eff~ 
ect. In a plain close st--le it 
closely resembles hemp. 

Imitation HemP or U ohair Braid 

Mohair braid is made in Gfir;nany. 
It is heavy but ine::pens ive . 

Llsere 

A shiiay, narrow braid made of 
either split or whole straw. It 
comes from Europe and js imitated 
in a yeiy sira:.lar Asiatio braid 
called China Piping. 

gyro-'ilin 

This is a synthetic horsehair 
braid whioh breaks easily when 
damp. 

Swj ss Hemp 

^is conies in frvo qualities, plain 
or "Vith an eye in the braid. !lJhe 
Swiss Is lightei- and more even than 
the Japanese. 

^fica 

This is a fine straw which makes up 
in a. light-weight flexible hat with 
a satin finish. 



Asiatic 
G hlna Pipin g 
An imitation Lisere braid. 

(See European ohip) 

Hemp 

Abaca braids made Into strong, 
light, pliable ha-^s. Hemp is 
slso used for body hats. 

J a-panese pemp 

'irfi .Earopean Swiss Hemp) 

Ramie 

In this braid the fibers are 
twisted or braided together, 
maicing a durable straw. 

Sp lit Sennit 

V/hen woven with two straws it Is 
woven dounle with the bright split 
sides out. When the straws are 
woven .<5ingly the shiny and dull 
sides show. 

This braid Is made up in a li^t, 
delicate hat with a cosrse, loos 

weave. 



- 29 " 



Te st Questions. 

1. What is meant by a body haf H?Jv7 are other 

hats made? 

2. Thoxa (f.rn four important points X7hich should 
be notice;*'* about straw bxa^ds. What arc they? 

3. What brar'as are made up in o^en-lace effect? 

4. What are some of the coarse braids? Find braids? 

5. vyhat are some of the artificial silk br?-idr. 

38 • What fapts about the way hate are made account for differenc es ir., 
ftuality ? 

Hats may be hand-made or machine-made. All body hats are hand- 
made Trtiile straight braid hats may be either hand or machine-made. 

A hat undergo several processes In the making such aet 

(1) Bleaching and dyeing 

(2) \7Baving the stiaw or sewing the braid 

(3) SisiEg 

(4i Blocking or shaping 
(5) Finishing 

!Qie hand-made hats and the machine-made hats differ somewhat as 
regards these processes. 

(1) Bleaching and dyeing 

The st,'(fiw is usually bleached or dyed before it is woven. "Eh© 
natural bleach is the best, giving a creamier color than the dead white 
produced by chemicals, although the latter are much less expensive. 

(2) Weaving or seTr?-ao: the braSd 

Body hats are hand-\70ven in one piece, over a wooden bloclc, of 
sorted strips which have been previously toughened and bleached and 
bleached. 13x0 plaiting starts from the apex of the crown and continues 
around in circles. The ;;t?ri'3ds must be moistoned in order to be flex- 
ible enoxigh to weave. The 5dga i3 then finished. In double hats where 
there are two brims, the urder brim is trimmed smaller than the outnr 
one and the straps of the outer hat are turned back and woven into the 
edge of the under brim. 

Hats made of sewed braid are shaped over a block as the braid is 
sewed together. Tha crown and brim may be made separately or all in 
one piece. 

(3J gizine 

jiany hats are dipped in Shellac to gise them when there Is not 
sufficient natural stiffness in the b^aid to make them 'ceep their shape. 
TOO much sizing, however, nay W3?.]c3n the texture and cause the straw 
to look shabby fttter a f «w wearin^s . 



- 30 - 



(4) Blocking or Shap.log 

A handMiade hat is blocked l»y putting it over a tlock, "beatlDg it 
with a wooden hammer, and iroc5.ag it smooths lIach5ne-irE.de ha.';s ars 
placed on hot motal hloc?;s aurl pli^ced :.n a liydi-aulic press. Sifferant 
kinds of machines arc uned fo.v hats requiring a emooth finish than 
those requiring a s'ough effect , More expensive hate may have further 
finishing hy stef>juing. 

(5) Finishing 

Finishing consists in trimming the rough edges, ticketing and 
lining* If the cro\»n6 and trims are made separately they must he sstrod 
together. 

, Test Questions . 

1, What kind of laleach gi^es the best color? 

2, Why must "fcciy" \£>-ie bo mads by hand? 

3, Ho\7 are double hats made? 

4, H0V7 are hats stiffened? Y/hat is the disadvantage 
of too much stSffeuing? 

5, Ho\7 does the process of hand-blocking differ from 
machine-blocking? 

g^?.!: Materials 

39. What is it important to know about the ma^jerial used in felt hats? 

Pelt hats are made from wool, fur, shoddy or mixed. The finished 
na.terial takes its name from the felting property which is common to 
both fur and wool due to their fibar structure. These fibers are made 
«f scales \^ich expand when wet and catch and interlock as the water 
is drained off, making the material compact and thick. 

lest Questions, 

!• \7bat is meant by the felting property of fur and 

wcol? 

2. './hat effect has the felting proeews on the material? 

3, V/hat are the raw materials used for f$lt hats? 
4^, Vi9iat do you think v70uld be the disadvantage of 

adulterated wool in » felt hat? W3iy? 

40, jS^ta-* facts about the waj; the felt is made ^ account for differences in 

jgualiii:? 

Felt hats made from fur are m^e from the fur fleeoe ^ioh has 1>een 
sorted and cleaned. The quality of the fur or wool used determines the 
grade of hat j?roduced. Adulterated wool, for instances, makes a poorer 
qiialiiy liat than the jmre wool, as the cotton is. likely to pull out, not 
having tie felting property of fur or wool. It is also harsher in tex- 
ture. 

Different qualities of either fur or wool aro mixed and then felted 



<. 31 - 

"by 'being drawn over cones and placed in hot water. The fur or wool is 
t-j-^-'chex' feTt<9d by rollirg, ^Thioh tends to nap the fibers more closely. 
Ihe more carefully this :s done, the more uniform and psrfect uhe finished 
hat -ivill be. Th£^t hats are then .d;^ed and snak^a in a solution of F.hell£.c 
in alchohol to stiffe n them, after which thoy are stretched and i^-essei 
into shape . 

Soft hats and stiff bate are treated differently. Soft hats are 
softened by steam, shaped and stretched hy hand and ironed. IT the sur- 
face is too rough, part of the nap is removeu by atichir?. The finish may 
be thick and dosmy, li'te a velour with a dense, erect nap or wilh a slight- 
ly loose nap or a polished flat nap. Long hairs are characteristic of ths 
scratch or moh^xir finish. Shoddy, a combJJiation of cheap wool and cotton, 
icakes very loc7 priced, less rich looking hats. 

Test Guestions. 

3,, How is fur used in maJcing felt? 
5. How does the quality of material used effect the 
quality of the hat? 

3. '.Vhat effect does the way the material is felted 
h^ve on the finished produce? 

4. In what different \«iy8 nay felt be finished? 

5. V/hat is meant by "mohair finislir.'? 

6. What are the disadvantages of a felt nada of shoddy? 

^* What are toe important materials carried in fabrto hats? 

there are several kinds of fabrics whioh are constantly used for 
fabric hats, which oome tmder the following headings: 

(1) Pile fabrics 

(2) Napped fabrics 

(3) Silks 

(4) Nets and laces 

(5) aiscellaneous fabrics of cotton, wool, linen or combinationa 
of straw and fabrics. 

4&. Whftt is it necessary to kuow about the pile fabric? , 

{3.} Characteristics of a s>ile fabric 

A pile fabric is one in which a pile weave is used. In this weave 
there are two sets of warp threads and one of filling or trro peto of fill- 
ing and one or warp. It is distinguished by the thiok nap or pile on ■*© 
surface. The cloth is made regularly with the warp and filling. The 
extra set of threads goes over wires, which cause the thread to foiia loops 
on the surface. Sometimes, the wire is removed withefut cutting. jToa 
often the wire cuts the loops as ic is removed, TBhan pile fahiios are 
finished, they have a thick pi^e on the right side, but the back looks like 
any 65:aple cloth. Velvets and plushes %re made in this way. In come of 
the cheaper grades of pile fabrics, the pile is made by an extra Bet of 
filling threads. The threads are not passed over wires to foim loops, bnt 



- 32 - 

the oxtia filline thread is pat in, in ouch a way &b to totm regular 
loops as the shuttle goes through. After the loops are foraed, the 
surface is Sheared and the loops are cut and the pile resembles that of 
velvet. This is used to make velveteens, and co'*;ton velvet. 

The Important thing to notice about a pile weave is whether the 
pile js thick and fxrmXy fi=.5tor.8d, so ft 'vll.l not come out easily. It 
has a soft, attractive sr;.rraco with a depth and richness not found in 
any other construction, and it is also exceedingly warm. The pile is 
apt to press down and show wear, but its original beauty generally may 
be restored by steaming* !Ehe cheap velvets are very hard to keep in 
good condition. 

(2) Pile fabrics most oommonly used 

The most imiJortant pile fabrics used for hats are velvet, plxish 
and beaver* 

Velvet 

Velvet is a pile fabric with the pile usually cut closa. There are 
mauy different kinds used, the most important for hats being: 

Lyons - k (jcttoft or silk-back ifelvet with A very olose and fiitn 
silk pile. The back can be seen through as the silk pile 
stands up very separate and erect. The tern "Lyons Velvet" 
indicates a very high grade. 

Mirror - Uirror is a sii::-back velvet, heavier than Banne velvet 
but not quite so lustrous or silky. The finish is pro- 
duced by damp heat and pressure. 

Panne - P&nne Velvet may be a cotton or s ilk-back, usually the 

latter, with pile longer than ordinary velvet, so pressed 
as -to give a smaoth shiny effect. 

Chiffon « Chiffon velvet 5 5 all si31c and is «e ^foven that the pile 
is in verj' narrov/ stripes, so fine that they are not 
noticeable unless one examines it closely. It is some- 
tiues called "cut-velvet". 

Cotton-Mtk' - Qhis \b a velvet with a cotton back and a silk pile. 

Cotton-crolse - This ie a sohapp© faoed cotton-back velvet. In 
this velvet the silk is taken from fs^^ .I'l.trtjtch 
ktf.ro vabi beou -cut. 

Velvet ie one of the richest and most Ixixurlous fabrics woven. 
Oia pile gr.ves a channinp affoct of li^t and shade. Althov^h It does 
not wear out, ic becomes shabby, but 5.ts beauty can be renewed somewhat 
by steaming, ^nne velvet, if worn frequently shows wear and rec-aires 
constant steaming. To steam velvet cover a hot iron with a heavy cloth 
and hold the back of the shabby part next to it so that the fabric gets 
the steam from the wet cloth, but does not touch it. A satisfactory 
met'nod of reuewing velvet ie to fill a bathtub full of steam5.ng ;ra.ter 



- 33 - 

and hazig the hat over or near it, afterwards brushing the nap up. 

Plush 

Plush is the nanre» gi^en to a pile fabric where the pile is over 
l/s of an inch long. It is made like velvet and has the sane charactor- 
istics. The long pile gives a rich appearance but wears shabby. It is 
yeiiy durable and dressy. 

In hatters' planh *he p?.i.e is pressed down, g.rving to the fabric 
somewhat the effect of panne -cclvot except tnat -^-he pile is more apparent. 
Silk seal plush is a very fin^ grade in which the pile is vex-y regulav 
and soft, making the t)lu:ih re56mb3.e seal skin. It is expansive. 

Beaver 

Beaver is a wool or fur, long nap, felt body used for hats. There 
are two kinds used, the nmcut wooly beaver, and the cut beaver, which is 
pressed and. clipped. It is veiy durable, pe^ver cloth is the same as 
above in the foim of yardage instead of bodies. 

Test Questions. 

1. What are the advantages of pile fabrics? Bisadvan- 
tages? 

2. Check the pile fabrics you carry. 

3. Hov7 !T»y velvet Jfi^ts be renewed? 

43 . What Is it necesaary to know about the_ napped fa brics? 

(1) Characteristics of a napped fabric. 

A napped fci-bric is one in which the cloth ias been pressed over 
§ machine to raise tho nup on the surface, which is then brushed and 
sheared the desired length. 

(2) Happed fabrics most oonmonly izsed 

Velour and duvetyn are the west popular napi^ed fabrics used for 
hats. 

Velour 

The term velour is used for a variety of wool or fur felts which 
have a short, soft, lustrous nap. The fur velours are much more satis- 
factory aa fabrics than wool velours, Vtelour has either a napped surfacp. 
or a pile construction and so has a velvet;/ feel and a rich, dressy 
appearance. It is li^t»weight tut iwam. drapes gracefully, does not 
berome shiny with weai', and if of good quality wears well. However, It 
catches the lint and is fair.iy hard io brush. The nap may wear off or 
rub cff. Owing to its fuzzy napj^jd sun'r/^e, it looks warmer th^n a 
smootli-f inished fabric and therefore is more appropriate for fall and 
winter than for summer wear. 



- 34 - 

DuvetTTO 

Duvet3m is distinguished from veloui' by the suede like finish and 
the fine silky, short, smooth nap v;hi3h nr-ko it resemble velvet. It is 
made in cotton, silk, or v/ool,. or in m^.x-lrurGs of any two of these fabrics. 
Silk duvetyn is laore lustrous in appearance than wool duvetyn. Both 
kinds have a sof c feel nuch like that of a suede glove. Both may be mad© 
with a cotton Ijsok. 

Dnve^yn Xb de.sirable because it gives a rich beautiful effect. It 
is graoefc.l for draping and is Tsarm yet light?-weight. It is expensive 
not only berttuse of its initial cost, but aleo because it wears shabby 
guioldy, spots easily, catches the dust. However, if duvetyn is taken 
oare of, brushed when the hat is taken off, and steamed wben the nap 
vTears dp^m, it can be kept in good condition and because of its beautiful 
appearance is one of the most satisfactory materials used. 

Test Questions^ 

1, What selling points can you give for velour? for 
duvetyn? 

2. V/hat suggestions can you nake as regards the care 
of these itaterials? 

44* Vfta^ is it necessary/ to know about silk fabrics? 

(1) Characteristics of a silk fabric 

Silk is an expensive fabric as well as a very smooth and lustrous 
one, which makes it particularly adapted for dress wear. Owing to the 
fact that it can be so easily made up it lends itself to many different 
styles and occasions. On the whole, however, silk is bought for appear- 
ance rather than durability. 

Silk sheds the duet and keeps cleaner than other materials and 
because it is light-weight, smooth and soft, is cool and comfortable tc 
wear. Bec«wse it takes the dye so well more beautiful color effects 
can be obtained in s:.lk than in any other u©terial. Furthermore, the 
colors are fast ':f good dyes are used. A large variety of effects can 
be produced by the different finishes too, from the dull crepe surface 
of Canton crepe, to the shiny, lustrous texture of slipper satin. 

(2) Silk fabrics most commonly used 

The silk fabric most commonly used are 



i« 


Corded silks 


ii. 


Crepes 


iii. 


Satins 


iv. 


Taffeta 



i. Corded Silks 



^ilie - IJ^ille is a ribbed silk fabric, recognized by its 
flat coi^ surface, the heavy filling cords being not so round as those in 



- 35 - 



poplin and grosglrain, and ineonspjcuntis. In effect faille resembleB 
taffeta, having about the same amoiint of stiffness, 

fn a good quality faiilsd usuali.y wears better then taffeta, 
making an especially satisfactory cater.'.al foi* hard wear. It does not 
have the rich luster of satin, ho^irever, so is not so suitable for dress 
wear. 

Cro s de Lend re " This is a light-weight silk fabric of 
about the same texture »s taffeta, but hav'Vng very nar.oriw C02t\s alter- 
nating with wider ones^ ^he cords are flac and i?.ot so appai'ent as in a 
poplin or grosgrain. Often the ^arp and filling are of different colors, 
giving a changeable effect. It is a i-asher stiff sillc, dainty and ser- 
viceable for dress wear. 

Grosgrain - Srosgrain is a corded silk fabric with cords 
that are usually heavier than those in silk poplin. It is very service- 
able and usually in good style, especially for ribbons. 

Iloire - This is usualljr a corded silk or silk-and-cotton 
fabric uith a watered effect produced by pressing. It is attractive 
and durable. Idoire antique is a aoire with an ingraved pattern put in 
by means of a roller. 

ii. gilk Crepe 

Can to n cr epe - This is a heavy drepe de chine called Canton 
crepe because it is made in Ca.nton, China. Its crepe surface is pro- 
duced by having six or more filling threads with a regular twist shot 
through and then six or more with reverse tn/ist. !rhe result is a crepe 
effect in warp lines Avith rather a wavy corded appearance. It is rather 
e^ensive because it is a heavy silk, but it is rich looking and is used 
a great deal. 

Cre pe de chine - This is a thin, light-weight, opaque silk 
with a crepe surface. If any cotton is mixed with it, it is not properly 
called crepe de chine, though this name is often used in Viaist depart-, 
ments for part cotton fabrics. It has a dull lustx'9, due to the fact 
that the filling threads are very tightly twisted. For this reason, 
they curl up somewhat and fail to r-eflect light as well as sleek twisted 
yams. The crepe surface is brought about by the filling threads. They 
have two kinds of ti/ists, regular and reverse, and these are alternated, 
When the cloth is finished, the different t^7ists shrink and pull in diff- 
erent directions and rcake a crinkled surface. The cheaper grades are 
made from yams which are single v/hile the better grades are made from 
two ply or from three ply threads. 

Because it may be made up and trimmed in so many different 
ways, crepe de aahine is used a great deal. It wears well if it is of 
good quality. 

Geor c:ette - It is a very thin, sheer silk with a crepe finish. 
The quality depends on the nvimber of threads to an inch and the kind of 
fibers used in the yams. The cheaper georgettes either have fewer 
threads to the inch or have cotton mixed with them. !lSie heavier and less 



- 36 - 



transparent georgettes have come worsted threads in the filling. 

The crepe surface is produced by the difference 5.n the t^ls'*--^ 
of the threads. (Hiis has jnst been des-r-ribed uader cr-^ipe de ohtuo ; 
Because the threads are so fine, they aro woven in the gum and wh^vn 'he 
gum is boiled off, the weave is quite open. Cotton-and'-silic geo.rge^'.ue 
uears better than an inexpensive all-sillc crepe but 5.5 not so sheer p 
soft and beaTitlful. 

Georgette is very desirable for c.^^^'^.-^f'L^lirr^A and fancy 
wear. Por a shear, thin fabric georgotts wjars r^ma.rkB'bAy v/eM, liut of 
course it does not usually outwear a heavy Bilk and At fades badly, Jt 
comes in beautiful colors and makes a coft, clinging material that 
drapes well, 

iii. Satin - This is a very lustrous material in a satin weave. 
In this weave the threads on the surface are longer than in any other 
weave. Por this reason the surface looks lustrous «nd smooth and one 
is not conscious of the threads interlacing. Satin may be finished with 
a crepe back or a plain back. Also cI'j'sAper materials may be used in . ne 
set of threads, as cotton-backed satin, where the silk threads are throvm 
to the surface, and the cotton does not show in the rigljt side. The sur- 
face effect is about the same as if all silk Siad been used, although the 
cloth is stiffer and not so pliable and yielding as all silk. 

Satin is used for dress wear and in the soft grades it 
drapes especially well. Its unbroken surface causes it to reflect the 
light beautifully. On the other hand, the long gloats in the cloth 
catches the dust and rough? up easily, giving a shabby appearunce. Sat- 
in also takes on g. shine wltli wear which is different frcm its natural 
lustre. .In the better grades of fabrics, hov/ever, satin v/eaves give 
fairly good service and produce very beautj.ful effects. There are many 
different manufacturers put out slightly different fabrics with new 
names. Slipper satin, which is a very heavy-weight satin, and Baironet 
Satin \9hich is a cotton-backed satin made of artificial silk from wood 
pulp are two kinds of satin frequently used in millineiy. 

iv. Taffeta - Taffet^ is a plain, closely ^yoven, rather stiff 
silk material wj;th dull lustre. Cheap taffeta is frequently v.-eighted 
with chemicals which have been used to give a rich and he^xy onect 
without using the re.juisJte amount of raw silk. This may cause it to 
crack or split. A soft, pliable taffeta, hov/ever, usually wears well 
and makes a very attractive hat which is both li^t and cool. 

Test Q u estions^, 

1. Give four reasons why silk is a desirable hat 
material. 

2. Bo you carry all the silk material given here? 
What additional silks do you carry* if any? 

3. V/hat are the talking points for corded silks? 
Crepes? Satins? Taffeta? 

45. Vfliat is it necessary to know about nets and laces y 



- 37 



(1) Characteristics of cets and laces 

Nets and laces ai-e mesh materials made of cotton, linen, or silk» 
laces have a distinct ..\ sign worked in ^7hile a net is a plain nesh, the 
different kinds depending on the fiher used and the size and form of the 
mesh. There is a great ve.riety in the clcseress an'^ fineness of thesg 
materials. IJets and laces may be used in the body of a hat, especially 
of a dress or garden hat, or as veiling over other materials. Feathers 
ave frequently veiled with maline; lace is frequently draped over straw 
or fabrics, especially in the Spanish styles. Uet is also used for 
bridal veils. These materials have the advantage of being sheer and 
delicate, flTlag a delicate, ;fr36ile effect. Because of their delicate 
texture they do not wear '.veil. 

(2) Uets and laces most conxoonly used in millinery 

Maline and tulle are tjie nets most conmonly used, while Chantilly, 
Shadow and Val laces are those most frequently used in millinery. 

i. Bridal Illusion - This is a wide net used particularly fo: 
bridal veils. 

ii. Brussels Ket - This is an embroidered net similar to Brussels 
lace. 

iii* :,laline - This is & fine silk or cotton heacagoxial mesh nett- 
ing* Its stiffness v/hich is produced by sizing, is destroyed by damp- 
ness. It is not durable, but is more so than tulle. Because of its 
gauzy texture it is particulaily desirable for veiling. 

iv. Tulle - Tulle is a machine-made net of silk or cotton with 
small jround or irregular shaped meshes. It is very delicate and fragile, 
and is used vi^Mly for veiling. 

V. C hantilly Lace - !2Ms is a black silk bobbin lace of fine 
net ground with an untwisted flat cord outline (cordonnet) applied to 
the pattern \Aiich is always sone delicate floral design. 

vi. va T Lace - Val stands for Valenciennes, whi<A is a fin© lace 
with a fiat aesign and a di^iraond shaped mesh. The real lace comes in 
linen, while the :-iac"-une-Val is made of cotton. French val is a single 
thre.id lace whicli distinguishes it from the coarser, stronger double 
thread Gerr.ian V-1. Val lace may be combined with other materials, but 
is most frequently used in trir.ziings such as rosettes and edgings. 

Test Questions. 

1. '.That styles do you carry in which lace or net is 

used? 

46. What is it necessary to know about other raaterials used in hats? 

Besides these fabrics there are several others *uch ae biege, 
chenille and netal or metallic cloth which Ore used a great deal, as 
well as ;j»ny novelty uaterials in cotton, linen, wool, leather, and 



Epoxige 


Ginghara 


Organdie 


Pongee 


Knitted Cotton 


Liren 



- 38 - 



eoiDbixiations of stvaw and. fabrics. 

(1) Biege - Biege is a loosely :7oven t\7ill, of a mJ.xtyre cf worsted 
and cotton. It may be piece dyed or printed. It is used for ^yinte;.' 
bats* 

^2) Che nill e - This material is made from a v/ooly, fiizzy yam called 
chenille" (Fr^Jnch for caterpillar). Little fibers protr.ide all ovf.r th<3 
yt-rn^ making a thick fabric ti^t is rich and beautiful. IS is litely 
to eaten the du.s'o and bho;/ wear and is expensive. Chonille is used a 
great deal for trinming as well as for the body of the hat. 

(3) Metal or Hetallic Gloth - This is a cloth which has meftal thi;.AdE 
woven in patterns, or one in i*iich a set of threads is metal ^Tith watp 
or filling of silk. A raotal thread is practically always a cotton or 
linen thread about whidh is wound a thin strip of metal, gold, silver or 
steel, v;h$ch gives a liuoirious and rich offcct, but it is heavy and 
tarnishes. It is usod a good deal for soft draped dross ha:!7S. 

(4) Novelty material s i n cotton an d linen - With the changing seasoi s 
different materials are featured. Such materials as the following may 
be used: 

Crash 
Crepe 
Duck 

The train po?nt for a salesperson to know about novelty materials, 
is their names and the particular features which makes them distinctive. 
Sometimes materials may come in only one style hat^ or one material may 
be advertised a oreat deal. All this information should be obtained 
from the buyer or head of stock when the ne^; merchandise is brought 
into the department. 

(5) novel ty materials in wool and leather - In the fall and v/inter 
seasons knitted wool and leather fabrics are greatly in demand for mill- 
inery. The particular materials which \rLll be carried \7ill depend on 
the fashion for tha.t year. 

(6) Other novelty roate rr. ala - Besides staple materials which are pro- 
minently featured fax)m time to time, there are new fabrics and brands 
which are introduced on tiie ijarket as novelties. Since these materials 
are usually well advertised and are much in demand from the standpoint 
of style, the salesperson should become familiar with these materials 

as t^iey come in the department. Braid combined with straw, silk or wool, 
cellaphane, liair cloths, combinations of visca-and-faille, bagatelle, 
yaria cloth, and timbo a;'.d examples of materials which have come into 
prominence in this uay. 

Test Questions. 

1. What novelty materials are you carrying this 
season? 

2. Vfliat selling points can you find about these 

materii-ls? 

3. V/iiat fui£ arc you c»-rryinG in your department? 



- S9 - 

47 . What should "be not iced about the ws^y fabric and fur h ats are m adet 

The first thing to ncti'-.e is whether the hat is an "all-over" 
icade in one piece, or a t\.'0 piece hat wth crown and brim sav^ed vojether* 
A two-piece hat will roqiiire a little different treatment of tho drap'jng 
or trictaing than the all-over as the seam needs to be covered up* 

Tlhfither the hat is a soft model or a stiff one is another fact to 
consider. The fact that a hat is flexible and easily shaped is a ^od 
seiling-point, ana wher<3 the frame is of percicularly soft yet resis- 
tent material as willow or gosnajuor, it is a good point to mcntion» ^he 
way the draping is handled is ajiother important thing to notrce. 

In stiff hats the kind of fiame used has a great deal to do with 
ita keeping its shs-pe. Also the way the hat is wired is important. The 
wire should be neatly and carefully covered "".vith the mater5-al, and the 
fabric should lie smooth over the crcwn and brim. For a flat brm bias 
fo^ds should be used in order to have the materials smooth as possible. 

?est ^-".estions. 

1« Have you any all-over or one-piece hats in your. 

stock? If T>'o, what can you say about them? 
Z, \7hat soft materipls do you carry? notice vrhether 

the fraiufi used can be made a talking point? 
3. Inspect some of your large flat brim hats carefully 

and sea hoi/ tho material is fitted. 

48» (5n wh at does the kind of materials used in trimnings depend? 

The kinds of mo.terials ".sed df-pand on the nature of the trimming. 
Ihere are six kinds of trlTiming used: 

(1) Bridal veils 

1 2) Feaihors 

(3) PloV'3rs and fruit 

(4) Rio'cons 

(5) Fahiic and fur 

(6 ) Ornaments , bands and embroidery 

49. ?/hat should be known about bridal ve!IL3.^g 

Bridal veils are made to oider in the department. They are ^^ually 
made of Bridal Illusion, a wide net material, or Brussels lace. The 
plain net may also be draped with lace if desired, and frequently the 
veil is gathered and caii^at together with orange blossoms. 

She length depends on the individual taste. 

These veils require the attention of a designer who can give ex- 
pert advice as to just how the veil should be made up. 

While ther^ is not such a large call for bridal veils, it is nece- 
ssary taat there should be some one on hand •'•o handle the situation &de~ 
cpiately when the occasion does rjixse. 



- 40 - 

§0 ^ ;?hat should be known abotit f aathers? 

Feathers are particularly .^'japori^ant as trfjominff^'iDOcause they are 
worn throughout the year and wt:av well fcnirs prov'».a.3rt. by Ea-itiTO -co ^:*.th-- 
stand the weather. Thoy ai-e ob-^&iivjfl fr:^ra ■t'cur clashes of Lirds, thb 
06tr.i.obf> domestic fowl, game liirda ar.1 imvcri:?.! birds e Owing oC ihg 
recout law pissed in tho Un:U-.ed Sta-^en px--'>hibi ii rig tlie impcrta^Uon of 
pluiaa^-e of v/ild and Fong birdc, and to the ra^venen*-- on foot fo:?' the non- 
s^rvat:on of wild lifo, tho use cf piuEa/?-) f:;nm impor-*:ed birds is grp.du- 
ally being discoutinu*^!, A^ a nilo, ii; vs nt/CDssa^ry vO "/:ill theso b^ixi.-? 
in order to obtain the fea-Lhors whiioh are so rare ard b3aiitlf'-zli> ^-' 
this reason the practice of using suc-h f'?at.her3 for tri^nmlnt? maans the 
gradual extermination of these birds especially since the foir.aJ.e is 
usually killed, leaving her young to die. 

There are many kinds of feathers used. They icay be bsanohed or 
pasted. Kiey are laio\7n by the follovrlng terms: 

(Ij Flumes 

(2) mugs and quills 

(3) EUncies (including pompoms, aigrettes, breasts, pads and 
bands used to encircle the cro\vn and outline the brim.) 

Plumes and quills are branched while wings and fancies may be 
either brsaobed or pasted. 

(1) Flumes - Ostrich feathers are made up principally in plumes and 
fancies, as tips 'the small plume feathers), pompoms and bands. Th.e 
plumes are usually made of two or threa layers of feathers, called t:vo 
or three-ply. Tho best feathers come from the bade and a.bcve the wings, 
the next, from the lorgcr froiids or flues, are more durable, more beau- 
tiful and keep the curl longer. "Bio Ltacurled feather is nouietimeg uaed 
and while not so beautii\il is more durable and less trouble to keep in 
good condition. The particu?.ar appearance of a feather depends grratly 
on the way i.n which it is curled,, a process tihich is done by hand with 

a special knife? A tight ourl, for instance, w?.H give a much nario^vep 
appearance than a broad or full curl. !fti3 width of a feather is measiired 
by laying it flat and moasxiring it across at its widest point. The 
length is measured from the stem whore the front begins to the tip. The 
long, sweeping length of a willow plum is obtained by knotting several 
lengths of feather fibers together. This is a tedious hand-process and^ 
consequently, increases the price of the feather. 

Ostrich plumes may be finished in different ways. By a treatment 
of acid and glycerin the flues of the ostrich feather can be made to 
appear much finer. Feathers so treated are called "burnt ostrich" and 
are used for aigrettes or branched in some novel way. The plumes oome 
in white, black or colors. For the same money a better white plume can 
be bought than colored, and black plumes are the most expensive. The 
colored plumes may be of a solid color or shaded. 

(2) J ings and quills - Almost all wings nov/ are aade from the feathers 
of the bc;riaj'ard fowlci, such as the pigeon, duck, turkey, goose, and 
chicken, although in addition the long wing feathers of the vulture may 
be used as quills, and the plumage of the wild duck, the parrot and the 



- 41 - 



guinea fowl are also used for \r.ngs. The best wings are made on wires 
amd caji bo bent ;7ithout in ju -ring the beaaty of tJr.'? \7ings. 

The advantages of v/ings and quills are that they give a spot of 
(«olor and a style tha^t no other feather irinmings can prodace. Or. che 
other hand, they do not v/ear well as they ruffle and break off ea n.y. 
Covering wingc or quills with maline helps to keep than in good condition* 

(."5) Jg^pcies - The majority C<f fancies and imitations of expensive ard 
rare feathers are nade from the feathers of bai-nyard fow?.6 or of the c.3- 
tx'ich. 

Imitations of the following feathers used aigrettes are maoh more 
frequent than tb© "creal" feathers. 

Aigrette, or egret - plumes &f the crest 

Bird of Paradise - - delicate long feathers with a tufted feathery 

tip 

Bnu ---- -- -long brown tail feathers 

Gourah ------<. feathery fan shaped crest from the gouxah 

pigeon, naturally gray but also dyed; very 

effective and soft. 
Heron 
l^umidid soft, silky f5.ne feathers from the ITumidlan 

Heron with no curl and very durable 

Osprey tail and wing feathers used 

Ostrich- ------ small plume feathers made into tips 

Vulture 

The peacock, goose and barnya.tdi cock are birds from \*hich the diore 
common feathers for imi'^.ailon aigrettes are -^aken. "Spanish Coq" is a 
shaded tail of feathers from the rooster, with the feathers branched asd 
wired instead of pasted, which makes a very popular and dnaable triimiing. 

For bre asts and j)e.ds peacock, pheasant and guinea fowl feathers are 
much used, in audition to the popular "hackle" feathers which are the 
long slender paddle feathers of th3 barnyard cockp dyed in various bril-*' 
liazxt and attrttotivt) shades* Ostrioh, goose, turkey and hackle feathers, 
are used for .pomwms 

Most of the expensive feathers used for aigrettes are also pasted 
into bands, for eacircLirg the crown of a hat outlining the brim, such as 
ostrich, bulture, bird of Paradise and gourah as well as the commoner 
peacock, pheasant, guinea-fowl and gooee. 

Test Guestions. 

1. Why do some ciistomers object to wearing feathers 
from imported birds? 

2. In what three ways are feathers used? 

3. How may ostr'.ch feathers be used? 

4. How tcay \d.ngs and quills be kept in good conditionf 

5. VThat is Sjanish Coq and hackle, and how are they 
used? 



- 42 - 

61. ghat shoulcl be^jcnoxm about flowers and fruit? 

Flovvers and foliage are generally used as tritaraiag arovmd th© 
(MTOwn or brim of a hat, but occasionally entire hats, crowns of brims 
are made of foliage or flowers. Pruit and \Tftieat are also used to a 
lesser degree as trimmj-og. 

The expense, beauty and serviceability of these trimmings depend 
en th© iraterials ud«Ci aa^ the way they are made. 

(1) Llaterials used 

(The materials used are as follows; 

Constantly Used Occasionally Used 

Cambric Cellaphane 

Muslin Chenille 

Batiste Celluloid 

ITainsook Crepe 

Pluah Feathers 

satin Felt 

Silic Glass (pomlered and spun) 

taffeta Gauze 

Velvet(especially for foliage) Leather 
Velveteen Ribbon 

Straw 
Sinsel Cloth 

(2) Llanufacture 

There are three processee In making flowers which definitely 
affect the value of the fialshed product. CJhes© processes are: 



i. Cutting the patterns 
ii. Tinting or dyeing 
iii. Assembling the parts 



After the material is stiffened the patterns of the flowers are 
cut cut . Chete patterns are usually cut o-at by machine but specialty 
flowers are hand^cutj ^/hich part3y accounts for their added expense. 
These parts are then dyed, '^he shadinp is done by touching the flo\7ers 
with, a deeper color while they are still wet which causes the color to 
spread and shad.© off in a natural Ttay. The finest flowers are finished 
with a stencil or are hand-painted, beautiful natural effects being 
thus produced. This handiwork also increases the cost of the p3roduot. 

The parts of a flower nay be assembled in two ways. The necess- 
ary number of pieces may be slipped on a wire to which there has been 
fa^Btened a bunch of seed pods or "peps", pasted and the stem finished 
off. This is done Ttfien the flowers are cut in flat circular pieces 
with a hole in the center^ tUa petals being only partly formed. These 
are called "slip- uffs" and the process ie the simpler of the t\70. These 
petals are "goffered" or curled, giving the delicate cui^ed form Trtiich 



- 43 



makes these flov/ers co desJ.Table for their natural beauty. It takes 
skillec. labor to produce these artistic effects aud hence the price 
of the article is increased. 

A stomping naohine is uced to cut out, dye and vein the leaves, 
and the stems are wound with so^ie rcatej'ja.i or incaseefe in a green cubitg 
of raobor composition. 

(3) Zinds of flov/ers and fruit used 

Plowere are sold in a millinery department singly, in bunches, 
and in comfeiJiatious of flowers and foliage. The bvmohes of flowers 
or the coinbinaticns of flo\7urs and folmge nay be in the form of sprays, 
clusters, bouquets, or wreathes. The flo'.rers most frequently used sing- 
ly are rosea and Violets, and the large flowsrs used for applique. The 
smaller flowers are used generally in combinations. 

i. F oses - Roses oome in a variety of many sizes and forms, 
all natural roses from the large cabbage to the smallest June Rose being 
in vogue from time to time. Ihey may be used s.ijngly or in combination 
with other fio\vers or foliage, and are frequently crushed for appli(jie. 
The small Jvue 3 0>>» are usually used for children's or misses' hats 
in small tight bouquets. 

ii. Violet s - Violets are used in combiiaation v/ith other fl.owers 
but when used alono are confined to matronij' hats. They are particul- 
arly effective in all-flower turbans. 

ill. Applique - The flo\/ers racs", f.feqnen^;ly used, for applique 
are as follows: 

Asters Da'-Sries {7.arge, single) 

Camelias Gs'^^onias 

Chrysanthemums Poppies 

Dahlias Eoses 

iv. S mall flowers • 'P^'e Z.'cvi^i' uoed most frequently in com- 
bination with other flowers or foliage are the field flowers such as: 

Elv.ets 

Ea'-.tercups 

Laifies 

Poppies 

ani such small flowers as: 

Cow-slips 

Forget-me-nots 

Pansies 

Primroses 

Lilies-of-the-valley 

. V/heat is also used in combination ^ith these flowers, 
special. flowers are featured at different times snch as lilacs. 



- 44 - 

orchids 5 etc., but are to be consideared as novelty trimming rather than 
as Scandai-d stock. 

The kinds of fruit most commonly used in millinery are cheiries ari 
grapes, wh-1© small apples, peaches and oranges ares,cooasional3.y used. 

Test Questions* 

1. Check the materials given which you find used for 
flowers, etc., in your o\7n stock. 

2. V/hich differences in cutting, tinting and asBembling 
the parts account for differences in price? 

3. V/hat flowers are used singly? For applique? For 
turbans? For children's hats? 

52. What Should be kno.?n about ribbons? 

Silk is the most important material u»ed in rSbbons. !Phe silk fab- 
rics used in ribbons are very similar to those used for the body of silk 
fabric hats, so that ribbon materials can be distinguished by their 

(1) Y.'feave 

(2) Pattern 
(3j Finish 

(IJ The ribbons which can be most easily recogniaed by their weave are 
the following: 

i. Pile v/eave 

nush 

Velvet - ^atin-back velvet makes a particularly rich ajid 
beautiful ribbon. 

11, Corded silks 

flengaline - This is a very heavy, stiff corded silk with a 
silk \7arp and cotton or worsted filling. Hany 
warp threads are used making a cord which goes 
across the fabric. It is used especially for 
mourning. 

?&ille 

Grosgrain 

Louisine - This is a silk material woven v/ith twice as many 
warp as filling threads, making a slightly cordsd 
effect. It is soft, pliable and serviceable. 

iii. Satins 

iv. Taffeta 

V* Miscdllaneous 



- 45 - 

(a) Chiffon - Chiffon is a very light-weight sheer silk 

fabric nade of fine double t/ijted jra,ms. It 

is desirable for its soft, dull, sheer effect, 
rather than for its durability. 

(b) Messaline- ?his is a medium-v:elght twill or satoen 

weavs silk-. It is softer "but not so sub- 
stantial nor lustrous as satin. In good 
quality it wears well but in cheaper quality 
it feels and often looks sleazy. 

(2 J The ribbons which are distinguished by their pattern or finish are: 

i. Antique - Ribbons, fre<juently of raoire or .iatin which have a 
design prefaced in. 

ii. Brocade - Ribbons woven in a Jacquard design, producing a 
raised ornarcental surface, 

iii. Cire - - These are frequently called "stove-pipe" ribbons on 
acooimt of the high gloss obtained by ironing. 
Satins and faille are often cired, 

iv. Double-ftujed - Double-faced ribbons are the same on both sides ■ 
Satins and velvets are frequently double-faced 
due to an extra filling thread being used. 

V. Dresden - Dresden ribbons have a veiled soft design produced 
by printing the tvarp and then weaving the filling 
threads through it, 

vi. Gilt and Silver. 

vii. Moire - - Uoire ribbons have a v/atered effect produced by 
pressing. 

viii. Hetallic Cloth. 

ix. Plaid stripes ) - These effects are produced by using differ- 
and changeable) ent color threads in the warp and filling, 
silks ) 

Ribbons come in varying widths from the Uo, 1 'teaby ribbons to rib- 
bon 14 inches wide. They are finished either with a smooth edge, a corded 
edge or picot. The narrowex' widths are used mainly for bands, cockades, 
bow-knots, plaitings and shirrings, while the broader ribbons are used for 
scarfs, bows, flat, erect or pendant loops, and streamers. 

Test Questions. 

1. Check the kinds of silks used in ribbons in your 
stock. 

2. ,/hat novelty ribbons do you carry? 
5, Kow may ribbons be used? 



- 46 - 

63. VJhat are the important fabrics and furs used for trimmipfig 

Vfliile practically any of the fabrics p> furs which have been men- 
tioned as used for the foundation of a hat can be used for trinming as 
well, there are a few materials ;vhich are particularly adapted to this 
use, suoh as the soft materials used for veiling, lace, leather, metallic 
cloth and any of the short-haired furs which can be used in strips. 

(1) MatQriala used for veili ng - Of these soft fine materials, maline 
is probably the most frequently used, whtle net, gauze and chiffon are 
also used. 

(2) lace - Valenciennes lace Is used largely in the form of rosetts, 
while Mechlin, Chantilly, shadow and other similar laces are used largely 
for draping. 

(3) Tletallic cloth is used for bows, draping and for hand-made flowers 
and novelties. 

(4) jLeather is used a great deal as trinming for sport hate, both bind- 
ing for bows and bands. 

Test Cuections. 

1, Name some veiling materials used, 

2. How may lace and leather Ve used? 

54 . V/hat should be known about ornaments, b ands and tobro idery ? 

The following kinds of ornaments are found used in millinery: 

Beads Pins 

Buckles Sequins (small metal spangles) 

Carbochons (round buckle j Slides (like a buckle without 

(or brooch) a tongue.) 

Ornaments of various shapes 

These come in a -raxAety of materials, the following being the most 
common: 

Celluloid 

Glass 

Metal-cut steel, gilt, rhinestones, etc. 

Shell-mother or pearl, etc. 

Straf 

Wood 

Bands and ornaments are often made by appliqueing on i^cundations of 
net or some other fine material, sequins, scale jet, or jet or steel beads 
in elaborate patterns. Velvet is also used as a foundation for applique. 
Bnbroidei-^^ floss on net gives another effective banding. Chenille and 
strav are other materials used, 

anbroidery is at times a very pojwlar trimming, especially on wool 
hats, v/hile stitching of various kinds is also used. This \rark may be 



- 47 - 



done in either .vorsted silk, ootton, or metal thread. Occasionally a 
hat \7ill be painted but this form of trimiiing is n---i fo prpular as the 
hats are likely to go out of fashion too quickly. 

Test Questions. 

1. \/hat are carhochons, sequins, slides and how 
are they used? 

2, i';hat metal ornaments do you carry in your stock? 
\7hat shell ornaments? 

55. 'tVhat is it necessa irT: t o know a bout millinery f ir dings? 

The three kinds of articles included in millinery findings are* 

(1) Frames 

(2J Linii}gE and bandeaux 

(3) Wire 

Certain facts about the materials used and the way the articles 
are made s^jould be knovm. 

(1) Materials used 

i, Prames 

Hat frames may be made out of any of the following materials. 

Buckram 

Crinolin 

Gossamer 

Rice-net 

Villow 

V/ire 

Buckram is a stiff coarse cotton cloth, heavily sized. The 
cheaper grades lose their stiffness when -ivet. For this reason it is more 
satisfactor;^' in makJJig hats to get the better grades which have been 
shellacked, \iiir,h makes them almost waterproof. Because buckram is so 
stiff, it re^ains any deut^ the hat may receive which spoils the sh^pe. 
Also it is obviously not suitable for very soft hats, or hats of thin 
material. 

C r^noli ji. This is a copjtse, raedium-\reight cotton cloth, 
heavily sized. It is more closely woven material than buckram and not 
quite so stiff. 

Gossa mer. This is a name for a fine net which is T?aterproef . 
O.ving to its flexibility it is particularly desirable as a frame for a 
very soft hat, as it helps to keep its shape and yet it is so soft that 
it does not retain any of the impressions made on it. 

Rice-net . Hice-net is a material similar to buckram but 
much finer, softer and more pliable and hence more suitab^-O when draped 
effects are desired. 



-. 48 - 



_^i.llow is a pliable icaterial \roven of willow strips, which 
keeps its shape, is not affected by the damp and is IJght- //eight, codI 
and easy to handle. 

' Are . The wire use ■\. dS^a.^ f.ra::ies ?.s usually qu.lte thin, so 
that it can beeeafiily raanipulated vi7ith the f?jag9rs. Kind-made velvet 
hats are frequently made with wire frames, 

ii. Linings and band same 

Linings and bandea.ux are generally made of silk or mercer- 
ized cotton niateJ5?-a.\r, . Occasionally bi^ckram or net will be used to 
line the crown. The follo\/ing materials are used for linings: 

Chica and Jap rilks - very sheer, inexpensive light-weight 

silks, 
llallne - This is used, for transparent hats, 
Eibbon 
Satin 

Seco silk: -> a tMu, meroerized material. 
Taffeta 
Bandeaux ooiae in heavy cotton materials, in taffeta and velvet. 

iii, V7ir& 

Vire is i^sed for three purposes, for the frame of the hat, 
for ;vi ring parts of the hat, as the brim or cro'.m, and for wiring tr'jnm- 
ing, as bcivs and fancies. This \/ire comes covered or plain and of vary-^ 
ing widths • 

Cab?,e wire . This is a heavy, large covered wire, for wiring 
brims, etc. 

F rame wire . This is medium sized uncovered wire, used in 
making frames, 

Lace^wJre, This is a fine wire used in v/iring trimming. 

J|j2t':.n2j_w?.re.-, A. ■•"hin, resil'-s.-Jt wire responding quickly to the 
touch. Used ia wiring triiiraing. 

Tie wire . A fine wire used for tying. Lacks the resilisesy 
•f spring wire. 

In wiriiijj hats it is important that the ends do not poke 
through the matt- rial. In order to syfiicl tiiis difficulty little claeps 
arc raado to put ovtr the e ids of v;irt;s whore they join, as in the brim 
of a hat. 

Ri bbon v^ire . This is a fine wire used for wiring ribbon, 

(2) Tbo way the iirticlos flr<= iradc, 

i, Fxames 



- 49 - 

There are two distinct kicds of frames used, the wire frame 
and tho fabric frame of buckram, willow or net. V/*ien a wire frame is 
used the material is tacked or shirred 021 to the wire as the- case xcay 
be. The main point to notice is that the material lies even ard straight, 
arfi- that there %re no ends «f wire pdking through. The wire allows the 
aht to -be easily bent to the desired shape and makes a light frame. 

The willow or net frames frequently lave the material attached 
with glue, where a smooth even >?f"vn is desired. This is a much cheaper 
method chan tacking by hand. The advantage of a v/illow or gossamer frame 
for soft hats is that it retains its shapo after being bent ard peraits 
the hat to te crushed without injury. These frames are very light as 
well as pliable, 

ii. Linings 

There are two kinds ^f linings in use 

a. A one piece lining -.rhich is attached to the cro'wn 
ani drawn up by a string in the middle. 

b* A two " piece lining; one pioce placed in the bottom of 
the h^t is held in place by the second piece which is 
4 •ide band attached to the crovni, the bottom edge 
having a draw-string. The two-piece lining is apt to 
fit better than the one-piece as the bottom of the hat 
is left flat. 

iii. Bandeaux 

Bandeaux may be sev.'ed in or may be adjustable. The adjustable 
bandeaux If a round wired band, the inner edge having a drawing string run 
throu^ it. It is attached to the crown of the hat about one quarter of 
an inch from the edge by means of the small wire points which protrude 
from the outer edge of the bandeau. The head size is then adjusted by 
regulating the drawing string. 

The ser/ed bandeau is usually a fold or band of material, fre- 
quently velvet which is seT^ecL .In arour;''. the crown about a <juarter of an 
inch from the edge, either under or ovor the lining. 

Test Questions. 

1. V/hat materials are particularly desirable for 
frames for soft hats? 

2. Of xtk^t materials are the frames in your best hats 
made? 

3, V/hat kinds of linings are used in your best hats? 
In your cheaper hats? 

4, 'vJhat points should be noticed when v\dre is used 
in making a bat? 



BOOK II. 
3P2CIFIC VALUES IN llILilKEay 
Cliapter I . Style 

Chapter II. Becomiogness and Suitability 
Chapter III. Serviceability and Comfort 



- so - 



CEAPTEtt I. 
STYLE 

56. VJhat do we mean by style? 

Style in a hat depends on two things s 

(I I On the particular lines, color naterials used etc. 
(2) On the wearer 

In the following discussion the wearer will not be considered. 
Style will be considered as it exists in the hat in the hand or in the 
case, not on the head. Style as dependent on the wearer will be taken 
up later, under the subject of becowingness. 

!rhe style of a hat is determines by 

(1) Shape - a certain use of line and fonn 

(2) Color 

(3) Hate rials 

(4 ) laanufacture 

There are certain principles which must be observed in the use of 
these factors in order to have a hat that shall satisfy the main function 
for which it is made, namely — to offer an attractive and becoming cover- 
ing and protection for the head. 

Test ^estion s. 

1. V/hat four facts determine the style of a hat? 

2. \7hat constitutes shape in a hat? 

3. Have you seen hats \?hich failed in their function? 

4. Khy did they fail, and what were they like? 

57. ^Vhat facts about line and form must be observed? 

Although hats vary in an infinite variety of ways both as to shape 
and trimming, there are two principles which must be observed if the hat 
is to be artistic and beautiful: 

(1) Proportion 

(2) Balance 

(1) ProportioE^ - The problem of proportion in millinezy resolves itself 
into the question of spaoe relations between the crown of a hat, the brim 
and the trimming. The main principle to observe is to avoid equal space 
divisions, which gives a monotonous effect. The width of the brim and 
th» lutighth of tb« erown should net be the same. The best proportion is 
to haw one spct^ee or lUM^Mrooeot aoi>o thfta half but l«ss tha& two-thiz^s 
of the other. A hat then, to have good proportion, should have a brim 
either more than half and less than t\if0- thirds the h^lghth of the crown, 
«r a crown more than half and less than two-thirds the «lith of the brim- 



- 51 - 



The same principle holds true for trimming. The space covered should 
not be the sane width as the space vmcovered. 

(2) Balance - Another factor necessary for good line and foim is that 
the hat should ha\'e balance. One part of the hat should not out\TOigh 
the other and make it seem one sided, or out of proportion. 

Balance may be obtained by having a hat bisjmmetric in which one 
side of the center line is exactly like the other. This has the disad- 
vantage of any equally divided space ir appearing monotonous. Sailors 
and turbans are bisynnetric in shape, c^.tivqugh this effect is overcome 
frequently in trirx^ing. Balance may also be obtained in an unbisymmetric 
hat which does not have the two vldee identical. The unbisynmetric hat 
creattes the impression of balance through color, size and form. The 
balance is felt rather than measured, A small bright spot on one side^ 
for instance, may counter-act a long curve on the other by drawing the 
attention to the bright oolor, ar irregularities in shape may set off 
each other. 

The principle of balance is frequently overlooked in the extreme 
styles and accounts largely for their xanattractiveness. Any hat w}?i^ 
eeems weighed do\m or pulled awry lacks the features that make for good 
taste and beautj-. Frequently slight changes in the position of a trim or 
change in shape can affect a narked improvement in a hat as regards pro- 
portion or balance. 

Test Quest ioas . 

1, \Vhst tx?o principles should be observed in line 

and form? 
E, vVhat parts of a hat must be considered in deciding 
on the the most artistic and pleasing proportions? 

3, Wliat is the most pleasing space proportion? 

4. Hov; can this proportion be used in hats? 

6, "'.Vhy is it best to avoid equal space divisions? D-o 

you agree nith this principle? 
6, V^y is balance an important point to consider? 
7c v/hat is meant Ly a bisymmetric hat? Think of 

three or four bisymaotric hats in your stock, 
8' How can balance be obtained in a hat that is tm- 

bisjrametric? 
9. HJhat hats in stock have you that are bisymmetric 

that have balance because of the use of shape? Of 

color? 
10. Hacve you had customers coaplain because a hat looked 

top-heavy, or one-sided? What did you do? Vftiat 

did you say? 

58. ^\8hat are the principal styles carried? 

Tlie style of a hat may be described in four wajrs; 

(1) By the use for which it is to be \TOrn 

(2) By its shape 

(3) By its trimming 



<^ 52. - 

(4) By the designer or naanufacturer 

(1) Eie style of a hat may be referred to by the use for which it Is 
intended 

Tress hat 
wtreet hat 
Sport hat 

(2) !Qie most iiaportant point to consider about style is the ehapo of 
the hat. 

There are five distinct shapes used. 

Straight 

Boiled brim 

Sailors 

L^rooped or curved brim 

Off-the-face 

i . The straight or , flat brim 

This style may be large or small v/ith any width brim or style 
crown. It may be for dress, street, tailored or sport wear depending on 
the way it is trinraed. Children's and girls' hats are freouently this 
ahtipe triffimad with a simple wreath of flo\7ers or ribbon. 

ii. The ro] led brim 

There is a large variety of foiled brim hats differing in 
the width of the roll and the shape of the crown. 

Chin-Ohin - This is a popular model with a wide rolled 

brim of the same width all around v/hich carries 
the hat woi'L off the face. This style usually 
has a bell crown. It comes in various sizes and 
for various uses . 

Tricom - - This is a style in which the brim is turjied up 

on three sides after the fashion of the Continen- 
tal hat. It is particularly for street or tai- 
lored v;ear,also being worn largely to complete 
a riding habit. 

iii. Sailors 

A sailor hat is tailored ija-t with a stiff crown usually fait 
on top, which forms a right angle where it joins the brim. The brim nay 
be straight or slightly curved. 

iv. Lrooped or curved brim 

Drooped brim hats vary from the large drooping picture hat 
to the small close mushroom shape. They may have any style crown, bell- 
shaped, slanting, pointed or flat* "^^^^ Style has many uses. The large 



- 53 - 

hats are worn for dregs, the smaller styles for street and sport wear. 
GSiere are three distinct style of drooped brim hal-s in use. 

Clnche, or - Cloche, which is French for bell , refers to a 
M%3broom hat with a briro of uniform width turned down all 

around. It may bo large or small. Another 
nftiae lor this style is mushroom because of its 
bell cro\ini and evenly turned down brim. 

Poke A poke differs from a cloche or mushroom in 

having the front of the brim turned up in the 
middle and down on the sides. A poke is also 
shorbfer in the tack and larger in the fron than 
at the sides, l';70 pokes na\7 in use are copied 
after French styles worn in the 18th century, 
the Charlotte Corday and the Directoire, The 
Charlotte Corday style is a child 's model, much 
like a miishroom with a slight poke in front. The 
Directoire model has a very sma^l cro\7n, a wide 
poke in front, with a very short brim in back^. 
usually trimmed v;ith streamers. It is much more 
of a dress or picture hat than the Charlotte Cor- 
day. 

Picture- - - Picture hats include a large varietj' of wide 
bats brL-oned hats. They may be drooped all the way 

around or turned up on the side. The Gainsboro 
hat, for example, is turned up on the left slifte, 
Vlth the right brim sweeping well over the shoul- 
der. 

V, Bff-the-face hats. 

These hats are usually rather close fitting, and are frequent- 
ly made up in soft materials. There are three distinct kinds of off-the- 
face hats carried: 

Turbans - A turban or toque is a small closely fitting hat without 
and a brim. 'J'jiis stj'le is frequently draped v/ith some soft 

Toques material as duvetyn, satin, etc. 

ISms The regulation Tarn o» Slionter, or tarn is a round cloth 

hat or cap with the soft crrvm usually worn to one side. 
Modifications of this style are made up v;ith small brims 
in straw- and different fabrics. 

High- - - A great number of off-the-face hats are made up mth a 
Front v/ide fron cuff, which fits cloeely to the forehead. The 

Cuff brims of these hats may be small or large and are usually 

slightlj'^ turned up. This wide cuff offers an excellent 
expanse for ti'iramin^, and frequently containa the only bit 
of color or triOT.iing on tiae hat. 

(3} Hats are occasionally described by the trinroing used as: 



- 54 - 



Bonded 

Feather trinrned 
Plov:er " 
Flower " 

FV.T " 

(4) JXj^ iroportel hats or copies of imported models the name of the de- 
signer is of interest to tho n Ttc^ev. Belo\7 is given a list of some of 
the most important French designers. 

Alex Jean Cartel Jiarthe Collot 

,4ndre Lev/.'s Uarthe yerles 

jLQtoinette Louis Marsey Poiret 

Elaine LooXson RebOTix 

Evelsm Varon Ltioie Kamar Rose lescat 

Georgette iiar^'^jrHa & Leonie Saget 

Gertcaine 2Iai'ia Guy Suzanne Talbot 

Helene & Julia llarie l.ancret Susy 

Jeanne Blanchot 2%x'ie ct Annie vasselin & Villetard 

Eats are also called for a, timp by the nane of the manufacturer, 
as; Gage, Knox, Dtmlap, Een'lel, etc», so that the salesperson diould icnow 
whether branded hats are car? .'.ed m hor department and, if so, v;hat malros 
she carries. Frequently theso trade names are used to describe a certain 
style of hat, as a "liioz sailor" or 'Beret" aad "Priseilla Dean" tams. 

Test Questions. 

1. What four ways are used to describe the style 
of a hat? 

2. In what different shapes do your dress hats 
come? Your Rvreet hats? Tailored hats? Sport 
hats? 

3. Check the French models you c^rry in your depart- 
ment. If ycu cari-y branded hats write dorm the 
nan:C9 of thuso you carry. 

4. Witch the millinery j:dvertisements in the paper 
tomorro"./ and notice hoi? the different stj/les are 
describsd. 

59 • Vi/hat facts must v/e know about colors in order to use them intelligently? 

The first -thing to notice in studying color is that dJ.fferent 
colors produce different effects. Rods, yellows and orange are stronger, 
warmer colors and seem to have more weight than greens and blues which 
are cold. Red, greens, and yellows seem to advance while blue, greens, and 
violets ato itjtreatlng. Coloi-s of high value, tLih is; the tints, seem. 
less heu.T'y than the dfjrker colors. Pure colors are more exciting and 
seem heavier tian grayed colors, and dark colors are mysterious and somber 
while grayed colo:rs arc tender sud ueucral. 

Since colors by themselves are capable of producing certain definite 



- 55 - 



effects, it is obvious that cure raiist be t=ken when usin^ them In com- 
bination, or the result will be most unhaniiou-i.ous and unp7.easing. It 
is therefore, necessary to know some thing about the p.tr.nciples of color 
combination or color harmony if color is to be used to the best advan- 
tage. 

Test <jiuestion9 . 

1. "\!i?hat colors produce a stimulating effect? 

2. Wrat gi-7"2s the impr-sssion of wnight in color? 

3. iVhat colors are called retieating? 

4. VAiy is it necessary to know ."something about color 
combination or color harmony? 

60. What facts must we know about color in order to understand t he pri nciples 
of color combination or harmony &g applied to millinery? 

V/e noticed that certain colors produce similar effects, as watmth, 
activity, and weight or their opposites. These colors are called rela*=5d 
colors, Yellov/, red, green, and interraedis b^ colors as orange and green- 
ish yellow, then are related colors, and blue, blue-green and violet 
are called contrasting or complementary colors. 

Colors when combined tend to modify each other. Each color tends 
to cast a tinge of its complement or contrasting color on the color it 
is ccmbined with. The strongest color v-ill not be affected while the 
weakest will be greatly changed. An intense blue, on a pale pink, for 
instance, woiild icake it look orange, v/hilo a red en a dull blue would 
give the blue a greenish tinge. This fact is used in re?vatlon to millin- 
ery in combining colors in a hat and in considering what effect the light 
reflected from a hat v/ill have on the face. 

The results of placisg colors side by side or against each other 
are as follows: 

Yellow - - Casts a blue tinge which, makes red seem violet, 

green 'blui.sli, and gray cool. 
Blue ----- Gaits a ^j^'Low tir!.g«5 r-'hich intensifies yellcx:, 

cakss gnen yellowish, violet reddish and a cool 

gray w£»rra. 
Red _ _ _ - casiS u b luo-groen tinge, intensifying blue-green 

making yellow greenish, orange brownish and gray 

cool. 
Blue-green Casts a red tinge intensifying red, making yellow 

orange, orange reddish and gray warm. 
Green - - - - - Casts a violet tinge, intensifying violet and giving 

red, blue and gray a violet cast. 
Violet - - - - Caste a greftn tinge intensifying greenmaking yellow 

and gray graecish and red brownish. 

Blue-green, blue and violet, the cool colors are pleasing with 
white but do not combine so well v/ith black. Red, yellow and green com- 
bine well with eitlier white or black, black making them stand out in con- 
trast. 



- 56 ~ 



A pure color may be grayed or neutralized and thus made less in- 
tense, by mlxkxig vjith it a 8IBi^ll2.ng anount of, its complemenlrary or con- 
trasting color. In this way the dyers produce colors which are so.f cer 
and duller than the pure colors and hence easier to handle. ®ne same 
principle is also used in veiling colore with maline to produce a softcsnod 
grayed effect. 

gest Quest ions. 

1. \Vtot is meant by related colors? IVhat are they? 
S, Wnat are contrasting or complementary colors? 

3. \'ihat happens when colors are combined? 

4. How can this fsict be used? 

5. VVhat effect would blue facing in a hat have on the 
face? 

6. V.'hy might green be becoming as a facing in a hat? 

7. Vwiat might be the effect of a feather turban made of 
small blue and yellow feathers closely lapped 
together? 

8. How are pure or intense colors grayed by the dyer J? 
how is this same principle used by milliners? Have 
you ever used it? 

9. Vuiat are the advantages of grayed colors over pure 
intense colors? 

61. \7ha,t principles s hould be observed in combin ing colors? 

In considering line and form we found that a hat, to be artistic 
aud pleasing, must observe the principles of proportion and balance. 
These two principles are also at the basis of color harmony. 

(1) Proportion . 

There are three types of color schemes which may be used. 

i. Tho one cclor or self color aoheme 
li. The related color schcmo 
iii. (The contrasting color scheme 

i. In the one-oolor scheme only one color is used with its vari- 
ous tints and shades, and differences in brightness. The scheme has the 
eame disad'vantage as an equal division in space proportion of being mono- 
tonous. However, the monotony majr be relieved by using contrast in tex- 
ture and sufficient variety in shades and brightness. Also, in consider- 
ins the costume ars a whole, a one-color scheme in a hat may stand out as 
the contiasting note, as a brilliant red hat v<?ith a dark suit, or complete 
a color scheme. For instance, a blue-toned hat, apart from the wearer 
and tiie rest of the costume, nay appear quite uninteresting, but if it 
brings out the color of th^ eyes, or possibly repeats the color in the 
dress it may afford just the proper note to complete a pleasing harmony. 
A monochromatic or one-hu© scheme does have the advantage of avoiding un- 
pleasant clashing of color. It is the most conservative combination used. 

il» A related color scheme combines those colors which are alike 
121 su(3h effects as strength, aotivity and warmth. Hence, again there is 



- 57 ~ 



a certain lack of contrast tliat makes for norotcav, although there is 
less danger of getting colors that clash than riih contrasting colors, 
when related colors are used it helps to bring out so>j.e contrast to 
separate the different colors \/ith a bit of black, v,^ite or gray. Also 
grayed colors in combination are generally preferred to pure colors, 
and a difference in the brightness also heightens the interest, 

A bright blue hat ui th vivid violet trinming^ for example, 
might be too stimulating to be pleasing, while a duller blue with the 
vivid violet might be quite striking, yet pleasant. 

iii, 4 contrasting color scheme, in which a combination of com- 
plementarj' or contrasting colors are used affords the greatest variety. 
V/hen grayed contracting colors are used the combination is most success- 
ful as there is a satisfying bfuT^nce without too jarring a contrast. A 
difference in brightness and shades increases the pleasantness of the 
result also, as well as unequal amounts of color. A green hat with a 
touch of red, for instance, would be more pleasing than a hat nade up of 
equal amounts of green and red. 

The detemination of the br'.ghtness, shades and amounts of 
color to use in a color combination ie uoncemed largely with the second 
principle of balance. 

Test ^estions. 

1. 'Vhat are the three t;;;pes of color schemes used? 

2. V/tot is a one-color scheme? Select a hat in your 
stock in which a one-color is used 3 

3. Eov/ Tiiy the monotony of having a hat of the same 
color be relieved? 

4. Select a hat which uses different textures but the 
sane color throughout, What is the effect? 

5. Select a hat showing a use of related colors, 

6. V/hy is it advisable to separate two related colors 
by a bit of gray or black? How have you seen this 
drii5? 

7. £a-e you seen a hat in which pujpe related colors 
V3re used? Did you like it? If so why? If not, 
why not? 

8. Whet color scheme affords the greatest variety? 
^oy? 

9. Viihy should varying amounts of contrasting colors 
bo used in a hat? 

10. What are the advantages of using grayed colors in- 
stead of pure colors in planning a color scheme in 
milliner^'? 

62. gow is the prlaciple of balance used in combining colors in millinery? 

One of the reasons why a contrasting color scheme is pleasing is 
because there is a balance of wsjroth activity and weight. The effect 
Is neither too flushed nor too cold, too light, nor too heawy, too stimu- 
lating nor too passive. VVfe saw tliat a ooo-toned or a related color scheme 



- 58 - 



might become monotonous beca-'ise there was an unrelieved use of the same 
effect iinless there was a compensating variation m hrightness of shades. 

The most effective harrrony has a proper balance of colors, shades 
and brightness. There must be a center of interest T;hich shall pive unity 
to the iThole, That is, there shotU.d be a predominating color which is set 
off by the use of the other colors. The area of the color used depends 
on the particular color used, the sl^de, and the brightness. The stronger 
colors a? red or yellow require a larger area of the weaker colors, blue 
ai:d violet, to set them off. The brighter color will require a greater 
area of grayed color to set it off. A very light color is balanced by a 
smaller amount of a darker shade. 

Balance is alsc affected by the position of the color. A dark shade 
should not be used as the crown of a hat v/ith a light brim, for this gives 
a top-heavy effect as the darker shade carries the impression of weight- 
Different colors used alternately at equal intervals have a tendency to 
distract, as the attention is drawn first to one and then the other in- 
stead of allowing the hu.t ia be seen as a v/hole. There should be a pro- 
gression or rhythm in the arrangement. This effect of rhythm, which 
allows the eye to be carried easily from one point to another, may be 
produced in two ways, namely by use of gradation and repetition. 

(1) Gradation 

Gradation may be used effectively in shades in which case there 
will be a change from dc-rk to light, or light to dark; in brightness, 
from dullness to brightness and vice versa; or in size. Gradation innize 
is frequently seen in trimming. Beads graduated iu size is a good illus- 
tration of this. In using gradation it is wise to think of the costume 
as a whole -Tnd advance from the foot to the he^d, so that the face, v/hich 
is the point of greatest framed by the collar and hat, becomes the highest 
point of climax of the color scheme, 

llaterials depend on gradation of brightness for their attractiveness. 
Soft materials that lie in folds give a gradation of shading. Silks and 
velvets reflect the light, giving effects of light and dark; cottons and 
woolens are duller, while certain straws are more lustrous than others. 
Transparent materials l:.ke tulle aj.d chiffon soften harsh edges and re- 
store unity making the colors thus veiled more alike. 

(2) Repetition 

Repetition is another means of making a combination unified or 
harmonious. The eye follows naturally a repetition of a color, so that a 
costume v;hich repeats in the hat, for instance, colors that have been used 
in the dress or suit will seem more unified than one v;hich has no connect- 
ing link of either gradation or repetition. 

Test Questions * 

1. On what does the amount of color, or area of color 
iised depend? 

S« In a contrasting color scheme what colors would in- 
quire the greatest area? \'Jha,t colors would be used 



- 59 - 



in smal'.ler amounts? 

3. V/hy does a tit of orange go a long vaj- on a hat? 

4. VAiy may a small lUgiit feather, or trim satisfactorily 
ii'-'ju a sna£.ll hat? Would the sane siced trim in 
black or a dark color be usediii trimming a light 
hat? Vvhy not? 

5. How is balance effected by the position of a color 
on a hiat? 

6. In -.diat tivo ways iray rh^'thm be produced in a color 
schame? 

7. If a turban is draped in a silk gradoiating from a 
dark na-Ty bo a French bin?, what method \vas being 
used in efiecting a pleasing balance? 

8. V/jiy is it uecessary to consider the costume as a 
■.vhole? How nay the hat be nssd as a climax for a 
color scheme? 

9. In what ways have you seen repetition used in work- 
ing out a color scheme? 

63 . How crtn infonintion on line and form and color be used in selling millin- 
ery? 

There are two distinct t^iys in which information on line and form 
qnd color can be used to advantage in selling* 

(1) In bringing out the talkJJig points of the merchandise 

(2) In sxjggestiag ways of trimming or altering hats. 

(1) If a salesperson is familiar Mith the principles v/hich make for an 
artistic and pleasing piece of milliu3:::y she will be better able to point 
out the particular points of advantage of the merchandise to the customer, 
in commenting on the shape of a hat» for instance, she can point out the 
iPac* that the height of the crown is carried by tao pfriicular shape of 
the brim; or the flange or wide turaftd brim on one side is nicely ti'-_anced 
by the extended sweep of the brim on the other. By actually passing the 
hand over the parts of the hat mentioned the salesperson can indicate 
clearly to the customer the points she is bringing out. 

Hansonious color combinations can be brought out in the same way. 
If it is a one-toned hat, the difference in the textures used could be 
pointed out 'by the salesperson, as "The use of the straw and silk gives 
variety while the hat is still in the one color you desired." Or she 
rai^t say, "The way the color changes from dark to light blue is very 
effective and unusual", or "That bright bit of color at the side just sets 
off tlie dark tone of the hat." 

(2) In selling trimmings a knowledge of the principles of artistic 
decoration is essential if the salesperson is to offer the customer any 
help in triirming her hat. This infoimation will be useful not only in 
helping her to tell how a trimning may be put on, but also in selecting 
the right colors and style of trimming. 

Information of this sort is i*lso helpful in giving suggestions about 
alterations when the customer is not just satisfied about the \7ay a hat 



- 60 - 



looks. isorAetimes just a slight change in triraminf: or shape, or a Er.gges- 
tion about a treatnoent of the feathers or use of a veil will prove j^a^ 
the thing necessary to make the hat acceptable. 

Info.Taation of this kind on shape and color will alivays be g'tven 
in con\-\ection \fifa the question of becomingness rather than as sera rate 
informutiou, for it would be \i;astBof tiae to talk up the style of a hat 
which a customer could not possibly wear and would not posr.iWy b-.iy. 

Test Questions. 

3,. la what two ways can information on line, form 
and color be used in selling? 

2. In what connection is such infomation given? 

3. lAiat can the salesperson do in describing the 
talking points of the shape of a hat to make her 
statements effective? 

4. In what iTays does this information help a salesperson 
to sell hat trJmmings? To suggest alterations? 

5. Hov can information about color be given? Select 
a hat and decide v/hat you could say to a customer 
about the color. 

\1Biat facts about m aterials can _ be brought to the custoner's attention in 

considering style? 

The stylo of a hat will depend greatly on the selection of the 
iloaterial. Different lines are obtained in using different textures. For 
example, in straw hats the stiff tailored lines of a sailor are carried 
out by the use of Patent Uilau, hair straws give a lighter, gentler line, 
while visca, althou^ rough, is pliable and can be used in draped or 
crushed hats. In fabrics, duvetjm being wonderfully soft drapes beauti- 
fully and is particularly adapted for turbans and draped effects. Satins 
and taffetas give crisper, /*^rder lines. Beaver and plush with their 
sleek, shiny texture maice excellent tailored models in straight, severe 
lines. 

In considering the material used in millinery, customers are mainly 
interested in the questions of appearance rather than in durability or 
serviceability. They ask the questions "Is the material attractive or 
pleasing?" and "Is it new and in style?'* JSierefore, it is necessary for 
the salesperson to know the characteristics of the different kinds of 
materials so that she can talk them up, and be familiar with the novelty 
materials carried in her department. In order to do this she should make 
a point of knowing in v/hat materials the different styles are made up. 
This will also help her to find what the customer wants more quickly. 

Test Qwestions . 

1. Fame five of this season's materials which are 
'Ofted particularly for dress hats. 

2. U"aat materials a*e used for sailors? For off-the- 
face hats? 

3. In what materials do your sport hats come. 



- 61 - 

65 • V^t facts about aanufacture can be pointed out to the customer in 
considering style? 

(1) Hand-^nade and custom-niade hats 

The most exclusive and expensive hats, such as the imported 
models, are hand-nade. Their particular beauty of line and color is 
the result of the work of an expert designer who knows just how to 
handle Lis raaterials. The style is the important element in these hats 
and it is for this exquisite workmanship that the customer pays. Usual- 
ly a label cf an eaolusive luake in a hat increases its value in the eyes 
of the purchaser. 

Besides these imported models there are a large number of hand- 
na.de hats made up in the store work rooms, usually copies of exclusive 
models. These hats are rarely duplicated and hence are individual 
although not so expensive as the Lmported models. Also many hats are 
nsde up to order for the customers. These are usually referred to as 
"custora-rsade" hate, and are also hand-made. 

In addition to the creation of the particular style, hand-made 
hats shov? time and care in the workmanship which is put on them. The 
triranings, such as beads, are sewed or by hand, the embroidery hand- 
worked and the linings and wirings nicely finished so that the whole 
effect is neat and Troll-made. In straw hats the material itself may 
be hand-\rt)ven. iiuch hats are called "body" or "one-piece" hats. They 
are usually more j-'liable and stronger than the braid hats of the same 
material and are r:2ade of fine quality straw. The hand-made braids are 
also finer and richer looking than the machine-made braids. 

(2) Eao^ory-^nade hats 

?actory-nade hats are nade up in large quantities and, therefore, 
are perhaps not so distinctive in stylo as the hand-made ones as there 
are not so many of them. Ho./over, these hats come in a v/?.de variety of 
popular models so that it is easy to find an attractive and becoming 
style at a moderate price. 

V/hile the workmanrhip may not be so fine on these hats, unless a 
close exar.iination is made th^' frequently cannot be distinguished from 
the hand-made hats and for ordinary wear are quite as satisfactory. 

In coirmenting on hand-made hats then, the salesperson can point 
out the origiuality and beauty of the designs and the neat, clean finish 
of the workiianship. In selling the factory-made hats, the v/ide choice 
of styles and the effective general appearance of the hats for the price, 
can be tal;::ed up. Tiic fact that hats are seldom \rom more than one sea- 
son is another argument for buying an inexpensive hat, as doubtless the 
customer will want another hat when the style changes, so if she buys 
this one now she can get a better one later. 

Test Qjuestions. 

1. Vfliat are the advantages of an imported model? 
E. What exclusive models do you carry in your depart- 
ment? 



-. 62 - 



3. What are some of the reasons vfhy hand-made hats 
are expensive? 

4. V*at poj.nts do you Ptfcally bring out in selling 
hand--irade hats? 

5. ^Vhat can he said in favor of the factory-mofle 
hat? 

6. How can you use the fact that styles cljange 
quickly in millinery in sellingr your merchandisp? 

7. Select several styles of factory-made hats in 
your stock and notice hov/ they are made. V/hat 
do you notice about the \vay the triimning is put 
on? About the \vay the h?t is lined? 

8. Do the same for a hand -made model? 



- 63 - 

CHAPTER II. 

BECOLUHGHiSa AND SUITABILITY 

66 . What must a dustomer consider in choealng a beeomiijg and suitable hat? 

In selecting a becoming hat, that is, a style that looks pleasing 
and attractive on, the customer must consider, 

(1) Certain facts about the style of the hat 
(2 J Certain facts about her personal appearance 

(1) There are three ixnportant points to notice about the style of the 
bat: 

i. The shape, as line and fora 
ii. The material 
iii* The color 

(2) The points about personal appearance to notice are: 

i. Build 
ii. Features 
iii« Coloring 

If the hat is to be suitable as well besides noticing the three ■" : 
facts about style the customer must consider in addition: 

(3) Ho\/ the hat is to worn 

(3) In considering how the hat is to be vrorn two facts must be taken' 
into account; 

i. The costume 
ii. The occasion for V7hich the hat is to be worn 

A hat may be boconing and still be unsuitable. For instance, the 
line and color of a hat iaay be most pleasing on a customer when the hat 
alone is considered, but when the suit with which the hat is to be worn 
is taken into accoiint, the hat na.y look Liuite out of place, perhaps be- 
cause the colors clash, or the style of the hat is too elaborate for the 
suit. 

Hence, for a hat ^.o be entirely satisfactory, both becomingness aisd 
suitability must be cohsidered in making the selection. 

Test Questions. 

1. \/hat are the two main facts a customer must consider 
in selecting a becoming hat? 

2. VThat points must she consider about the style? 
A>out her personal appearance? 

5. Think of two examples you have seen v/here customers 
bought becoming but imsui table hats, the hat being 
unsuitable in one case because it did not go w'th 



- 64 - 



67. 



her costume, and in the other, because it was not 
appropriate for the occasion. 

How does the customer's rarsopal appearance determ ine the style of hat 
which v/ill be becoming? 

As v.-e have said, the customer takes into consideration her build, 
features and coloring in cho-asing a becoming style. This means that 
certain styles are particularly suited to certain types of people. 
Shapes, colors and materials becoming to one type of person may be far 
from ipleasing on another. 

For a hat to be becoming it must seem to belong to the wearer and 
to fit the head. A large broad-brimmed picture hat on a thin, small 
featured person seems out of place, while a small, round sailor on a 
large imposing figure nay appear even more incongruous. Bright, start- 
ling colors on persons with little color of their o'vn, or pale, weak 
colors on persons with vivid coloring show too sharif contrasts. 

In order to find the most becoming hats then, it is necessary for 
the salesperson to study the effect of different styles on different 
t3^es of customers. 

Test Questions. 

1. vfliat two things must a hat do to be becoming? 



68. How does the shape of a hat effect the wearer's build^ 

A person's build can be decidedly affected by the shape of the 
hat she wears, a. brimless hat tends to increase height, a straight brim 
cuts of the figure, while a curved or drooped brim makes the figure ap- 
pear even shorter, A turned-up brim, on the other hand, carries the 
eye upi/ard and nakes a person look taller. 

The effect of the shape of a hat on the build can be illustrated 
simply by looking at the four lines drawn below. They are all the same 
length, vy 



A 



Brimless or 
Close Fitting 



Sailor or 
Stradght brim 



Curved or 
Propped brim 



Off-the-face 
or Rolled b rim 



The effect of a wide brimmed hat is to make the figure appear 
shorter and the face thinner, while a close fitting or brimless hat 
heightens the figure and broadens the face. 



The figures below will illustrate this, 
length, and the circles the same size. 



The lines are the same 



- 65 - 




Y/ide brim Close fitting 

Keeping these facts about the shape and the siz« of the hat in 
mind, the salesperson can select the most becoming shapes for hor cus- 
tomers as far as build is concerned. It must be bom in mind, however, 
that while the statements given below may hold for a certain build, the 
customer's festuri;s may be considered alone, and where there is a con- 
flict between the style suited to the build, and the style required by 
the features, the style which overcomes the greatest defect must be 
chosen. Tnis may result in a compromise, selecting a hat with certain 
points becoming to both build and features, or in a style suited to the 
most prominent defect. 

Customers can be considered in t^vo classes as regards their build, 

(1) The well-proportioned figure 

(2) The ill-proportioned figure 

(1) The well-proportioned customer may be large, medium sized or small. 
In all three cases height and weight are well balanced so that the pro- 
blem df finding a suitable style of hat is fairly simple. 

i. The large, well-proportioned woman can \7ear large bats to 
advantage, although smaller close-fitting bats can also be worn. A rausli- 
room or poke is less becoming not being in keeping with the dignity of 
hep figure. Praetisally ai^y other shapes can be worn. 

ii. The mediiao-sized \7oman can wear any shaped hat except the 
large picture hat v/hich tends to eclipse her. 

(2) Ihere are four types of figures which must be ts^ken into account in 
buying a becoming style in a hat. 

i. Ine tall thin \TOman 

ii. The tall srout woman 

iii. The short; thJn woman 

iv. The short fat v/cman. 

i. The tall thin woman should wear a medium-sized hat, prefera- 
bly with a drooped brim vdiich will tend to lessen her height. Brimless 
hats will increase the appearance of height while veiy broad brims will 
maks her face too thin- Also straight brims, such as sailors, usually 
give too severe a line, while pokes or youthful mushroom shapes lack the 
dignity which belongs to this figure. 

ii. The tall stout figure requires a large hat to carry her size 

and make her face appear thinner. Drooped brims which hide the neck should 
be avoided, as they tend to make her look squat. Hats with rolling brims 
are likely to be becomxxig, especially chin-chin shapes. 



- 66 - 

iii. The short thin woman looks best in a small close-fitting 
hat \7hich increases her height and broadens her face. Small drooped 
hats such as pokes and mushrooms are also attractive if the customer 
does not object to emphasizing her smallness, 

iv. The short, fat worcan should wear a hat large enough to 
make her face look thin yet not wide enough to shorten her figure. She 
should avoid drooped hats v.'hich hide her neck and also brimless hats 
which broaden her face. Rolled brim hats' and off-the-face hats if not 
too round are becoming. Tricorns look particularly well on this type 
of figure. 

lest Questions. 

1. Why is it necessary to consider both build and 
features in selecting a becoming shape hat? 

2. 'ivhat effect do the following shapes have on the 
figure? Drooped brim? Brimless? Straight brim? 
Offrthe-face or rolled brim? 

3. vyiiat shape hats tend to broaden the face. To 

make it appear thinner? How do these shapes effect 
the figure? 

4. «Vhat types of customers should wear large brimaed 
hats^ Small off-the-face hats? 

5. ViCiat styles should a short, stout person wear? A 
t£.ll stout person? 

69. How do the wearer's features determine v:hat styles will be becoming? 

In deciding on the becomingness of a hat the wearer should look at 
it from two angles; 

(1} The front view 

(2) The side or profile 

(1) There are four points to notice in studying the front view, 

i. The sliape of the f^ce 

ii. The lines of the face 

iii. The hair 

iv. Glasses 

i* The three most important types of face to consider are: 

{a) The full, round face 
(b) The small thin face 
(cj The long thin face 

(a} For the ful^ round face and the flat face shapes which 
repeat or emphasise the curves of the face should be avoided, such as 
round, deeply rolled brims, brimless hats xvhich make the face appear 
fuller, or straight sailors the severe line of which offer too great 
a contrast. Hats with a brim deeper in the front than at the back and 
sides may make the face look slender, lledium sized hats with a slightly 



- 67 - 



rolled brim and tricorns can best be worn. 

(b) The small thin face looks best in small close-fitting 
hats which tend to broaden the face. Round sailors and small mushroom 
shapes are also bec(»ning. 

(o) The long thin face does not look well in a very drooped 
brim which onphasizes the long lines of the face. Severe straight brim 
hats are also trying on this tj^pe. Off-the-face hats or round slopes 
with softly rolling brins are usually becoming. 

ii. The lines 4n the face mxist be considered in selecting hats 
for the tired or old person. The deep lines from nose ta mouth, the 
sagging lines of the cheeks and wrinkles must not be emphasised. For 
this reason drooped brim hats which repeat the sagging lines and cast 
shadows on the face shoald be avoided. Soft curves in rather close- 
fitting models are more beccming, as in rolled brlii hats or draped tur- 
bans. 

iii. In considering the hair line it is important to make sure 
thftt the crown of the hat is on a line with the line of the head, X 
small crown which causes the hat to sit up high on the head, or a large 
crown extending beyond the line of the head are both displeasing. The 
oiB exception to this is the style which when made over a well fitting 
head size m£.y prove very becominej. 

The woman v;ho wears her hair close to her head may wear 
snflll hats or hats v;ith fairly large brims providing the crowns fit 
properly. 

The size of the crown is » particularly important point for 
the bobbed haired person to consider. This head-dress requires a I^t 
with a small head size. The young bobbed-haired girl with a slender 
face can wear toques and small off-the-face hats. Those with curled 
bobbed hair can v/ear mushrooms and pokes also. Wide-brimmed and rolled 
brimmed hats are becoroing to the broader face bobbed-haired type. For 
the straight bob toques and rolled and straight brim hate are good. 

The hair beocmes a. very perplexing question when it is done 
in an extreme fashion or when there is a great deal of it. In such cases 
the most important probleni is to find a hat ^ich will go on at all, which 
limits the selection from which to choose. The way the hair is done also 
affects the way the hat may be worn. The manner in which hats are worn 
varies with the seasons. Some seasons they will be worn straight, another 
OR»»on ^^t the side or well down over the forehead. However, if the hair 
is done elaborately at the sides, for example, it will be impossible to 
wear a hat exactly straight or if the hair is wDm in a large knot low 
in the neck, it is difficult to wear the hat very^low on the forehead. 

iv. Glasses have much to do with the becomingnesa of a hat. 
Some styles give a set, matronly lock, while pokes or youthful mushrooms 
styl,es seem out of place. The most becoming styles have a brim which 
comes over the trxce and softens the outline of the glasses. Small tur- 
bans emphasize the square corner mode by the edge of the glasses with the 
side of the face. 



-• 68 - 



(2) In studying the side viev/ or profile there are four points to 
consider, 

i. The shape of the head from front to back 

ii. The length of profile 

iii. The nose 

iv. The chin 

1. If tho head is too short from front to bade trimming mnssed 
at the back of the hat or a long line extN>rding from the front to the 
back such as a quill or loops of ribbon, may correct this defect. A 
line extending across the front of a hat or trimming nassed at the 
sides tends to m'ike a head which is long from front to back appear 
wider and shorter. 

iii. The shape of the noss is very important. Care must be 

taken that the lines of a hat do not repeat or too strongly contradict 
the line of a long or crooked nose. A prominent nose is less Conspicu- 
ous under a brim \/hich extends beyond it. Turbans, for instance, bring 
the profile into sharp relief and accentuate the nose. Curved brims 
are more becoming than stjnight ones v/hich offer too great a contrast. 

If tne nose is very snubbed the hat should not turn up in 
front as in a rolled brim or poke, A drooped brim such as s. mus2iroom 
is becoming as it casts lengthening sbadoijs ever the uppe:? part of the 
features. If the nose is just turned up enough to be attractive it 
may be desirable to emphasize tliis feature. In auoh a case a turban 
or toquQ which brings the profile into relief may be becoming. 

iv. The chin is also an important feature to consider. 5Phe per- 
son with a sharp pointed chin should avoid narrow crowns, high trimmings 
ard drooped brims which tend to lergthen the face, k weak or receding 
chin, on the other hand, needs to be reinforced. A sailor or straight 
brim sometimes strengthens this feature, while a turban helps to fill 
out the lower part of the face. A hat which comes too far down on the 
forehead or turns too abruptly amy frcm the face contradicts the weak 
chin too strongly and should be avoided. 

Tricoms and sailors with rolling brims are becoming to the 
persons with the very square chin. !ISieEe styles do not emphasir.e tho 
profile as turbans and toques do, nor do they tend to strengthen the 
lower lurt of the face as do the drooped brim styles. For the person 
v/ith a double chin trimming at the lack of the hat serves to correct 
this defect, while trimming massed on top serves to make the double chin 
even more prominent. Too delicate lines or too severe ones will also 
accentuate a double chin. 

Test Questions. 

1. V/hy is it necessary to look at a hat from the 
side as well as from the front? 

2. 'That four points is it necessary to consider 
in studying the front view? In studying the 
profile? 

3. '.That shapes are becoming to the small thin face? 



- 69 - 

Eae ICQg thin face? The full jround face? 

4. What styles tend to emphasice the lines in the 
face? vyhat shapes should be worn? 

5. v/hat is it important to notice about the c^o^vn of 
a has? 

6. To what profiles are the following kinds of triran- 
ing becoming? Trimming massed at the back? Massed 
a^ the sides? High stand up trimmings or narrow 
crovms? 

7. To v/hat profiles are the following shapes becoming? 
'^Jlxy7 Drooped brims? Turbans? Holled brims? StUnrs 
and straight brims? 

70. \iihat must be noticed about the material used in selecting a becoming hat? 

In considering the most becoming material 1?harQ"ai9 two points tft 
be considered, 

(Ij The customer's build 
(2) The features and hair 

(1) The large woman should avoid materials ;zhich tend to increase her 
size. Glossy, shiny naterJ^aln as cired materials, satin, shiny straws, 
and metallic cloth give the appecrance of sine, while wool materials as 
duvetyn, and ve3our silk crepes and pliable straws give a softer line 
§nd are less conspicuous. 

(2) For the sharp fea-^ured person soft materials are desirable. Veil- 
ing with tulle or other shoer materials tends to lend a soft grace to the 
wearer. The round f::.ce, on the other hand, can wear the materials giving 
a harder liue, as satin, taffota and the heavy rough straws. 

Glossy materials such a^ cire satin are f requwitly used as facing 
for dull hair as they impart a sheen to it, while glossy hair is set off 
by dull materials. 

Te st Questions. 

1. V/Iiat ira';er-.fl.l:i give the impression of size? 

2. What materr.als shoild a person with shs.rp or thin 
fea.^-uro'j avo^(^'^ 

3. ITSjce five natf;r'.''>.ls yon have in stock vAiich you 
think would be bocoming to such a customer. 

71. vHhat must be considered in selecting a becoming color in a tat? 

In studying the colors which v/ill be becoming to the customer it 
is necessary co consider the following poJJits about her: 

(1) Her age 

(2 J Eer build 

'3) Eer personal coloring and ccmplexion 

(4J The color of her hair and eyes 



- 70 - 



(1) ObviouBly for the mature woman sedate colors are most becoming 
because they ajje in aSneeping vjlth. her age. Hetreating colors r.s bJ.ag, 
green and violet, grayed colors rather than pale colors and the more 
conservative combinations of colors used in the one-color and related 
color schemes are colors for iisi/uritsr. 

Per youth, pale or light shades are becoming. Pure colors, the 
gay advancing colors if they are becoming to the individual colovin;^, 
and more startling combinations Jf coloi« seen in the contrasting color 
schanes iuiay be used. 

(2) Build becomes a problem in selecting a becoming color \#ien the 
customer is large. Dark colors tend to reduce size so are preferable 
for the large customer to the lighter shades. For the same reason, re- 
treating colors are more desirab?.e than the \7aiTner, brighter advancing 
colors and one-color or re?.at3d color schemes than the more conspicuous 
contrasting color combiuations. 

(3) In considering the personal coloring of the customer tv/o points 
are important, 

i. The types ef coloring 
ii. The complesion 

i. The customer may have very vivid coloring, medium coloring 
or weak coloring. The individual with medium coloring does not present 
a problem. For the person with vivid coloring and possibly more viva- 
cious personality a more colorful scheme is permissable than that for 
the medium typo or the person with the weaker face. The neutral, color- 
less person should be careful not to get colors which xrill put her in 
the sliade. A qiiieter, but no less interesting color scheme should be 
cliosen by this type. 

ii. In considering the effect of certain definite colors on per- 
sons r/ith different personal coloring it must be recalled that in hats 
the color is reflected on the face, which means that the hat casts its 
complementary tinge on the face. 'That is, blue casts a yellow tinge on 
the face, red a green tinge, yellow a blue tinge and green a rosy tinge 
(See Question 12?.). Keeping this in mind, for the different types cf 
complexion the following colors will be found most becoming. 

Tlie important types of complerions to consider in selecting 
becoming colors in hats are, 

(a) I^le complexions 

(b) Rosy or ruddy complexions 

(c) SalloviT complexions 

(a) For pale complexions, greens and blues which reflect a 
rosy tinge on the face are becoming. Reds which casts a greenish tinge 
and also present too strong a contrast v/ith the lack of coloring in the 
face should not be worn. 

(b) The person with a rosy or ruddy complexion can wear 
yello\/s, blues and grays. Greens have a tendency to make the face too 



- 71 - 



ruddy and black \\/hen worn against a flushed face br.ijigs out the color- 
ing too much. Darker shades are tetter with the real red complQxion 
aui waim colors are better than cool ones which afford too great a con- 
trast* 

(o) For the sallow complexion, vsatm. grayed colors are good, 
and dull green which casts a rosy tinge. Orange and violet are also 
becoming, while pale blue, and black are poor. 

(4) The two other points to consider about the customer's personal 
coloring are, 

i. JSie color of her hair 
ii. The color of her eyes 

i. Customers may be divided into four classes for convenience 
according to the color of their hair. 

(aj !rhe golden blond 

(b) Auburn or chestnut 

(c) Dark brunette 

(d) Hed haired 

(a) For the light golden blondsp, blue, blue-green and violet 
throw a yellov/ tinge on the hair and enhance its yellow waimth. Tfflien 
the hair and skin is very fair, very delicate tones will emphasize this 
mild radiance, and lightness. 

(b) Rels, deep yellow and green are becoming to the person 
with auburn or chestnut hair. 

(c ) For the dark brunette contrasts of red, yellow or orange 
bring out the deep blue g;llnts in the hair. Black and dark contrasting 
colors are suited to this type. 

(d) Greens, blue-greens and black give waimth and richness 
to red hair. Reddish browrs are also beccining, while rose, pale blue 
and and orange are usually pocr. 

ii. The color o.T the eyes may be important in deciding on the 
color of a hat. This is ■pa.rti.c/ila.rly trie when the eyes are blue. In 
such cases the color of the eyes is rapeated in the hat as the color is 
not reflected in th^s case, but merely emphasized. Dark blue may help 
bring out the color. in gray eyes. In fact, dark blue is the most univer- 
sally becoming color^ being becoming to mere different types than any 
other one color, and probably being worn more than any other color exeept 
black. 

Test Questions. 

1. IrThat four points about the customer must be con- 
sidered in selecting a becoming color? 

2. For what kinds of persons are retreating colors, 
grayed colors and conservative combinations best? 

3. V/hat colors are most becoming to a person with a 



- 72 - 



palB oomplGxion? A rosy complexion? A sallow 
complexion? Vfliy? 
4. vVhat colors should blondes v/ear? Larlc brunettes? 
People with, red hair? V/hy? 

72, \7tiAt is it necessary to con sxcloy In selecting a sjti table hatj 

The two important points to consider in selecting a suitable hat 



are* 



(1) The costume as a whole 

(2) 2he occasion lor \7hr.oh it is to be worn 

Ihese two lUcts should partly determine 

i. The shape or style of the hat 
ii. The material of which the hat is made 
iii. The color of the hat 



(1) 



i. The particular style of a costume with v/hioh a hat is to 
be worn \/ill determine the style of the hat selected to go with it. A 
very taiiorecS suit, for Instance, calls for a taJ.loresi hat, whereas em 
elaborate gown requires a style in millinery to match. 

ii. The costume will also determine the material of the hat t» 
some extent, A heavy, coarse straw does not go with light, filmy clothes^ 
nor should a fine hair bra.'Ld be worn with sport silks and ginghams as a 
rule. Frequently, in winter hats the material matches the suit •? coat, 
as 4uvetyn or velour. For midseason wear taffetas and satins are often 
worn with sillc dresses and suits. 

Iii, The color of a hat is probably even more definitely deter- 
mined by tho costume with \/hich the hat is to be worn. The hat may match 
the costxime in both color and shades, ms.y be the same color but a differ- 
ent shade, or be in contrast \/itii it. The important thing to make sure 
of is that if an attempt at matching is made that the result is not just 
fff color. 

(2) There are several points to consider as regards the occasion for 
which a hat is to be worn, 

i. The season of the year 
ii, v;here the hat v/ill be worn 
iii. Kev/ liiuch the hat will be worn 

i« Of course the season of the year determines the materials 
and to a large degree the particular styles which \7ill be worn. In 
addition, season has also much to do with color. For spring and summer 
the light, bright colors are appropriate while autumn and winter call 
for the daricer more somber colors. Occasionally bright reds and greens 
are worn in v/inter, but as a rule the more vivid colors look best in 
the brighter setting of spring and summer sun and sky. 



- 73 - 



ii. Natiirally where the hat iTill be worn is an important 
question in selecting a suitable style hat, Por business, for instance, 
small serviceable shapes, materia]^ which will not show hard wear and 
colors which are more or less conservative and sejrviceAbjR f\3r& best. 
For strictly dress occasions sport or vei^ tailored styles are rul^ 
out, the materials are usually more elaborate and expensive and the 
colors in keeping with the costume. Black is extensively used for dress 
Tsear, while the ligl^t shr^dew are used for afternoon and papty affairs. 

iii. Hew much a hat will bo worn will determine the sK*.table 
style to choose. If ft customer is selecting one hat for the season 
which she intends to wear on all occasions, the style should be rather 
consertative, the color one which can be worn with various costiunes 
and v/hich v/ill not show soil readily, and a material that will not 
easily show \>^ar. If, on the other hand, the customer expects to buy 
several hats during the season for different occasions, a variety of 
styles can be chosen with more care for appearance than serviceability. 

Test Questions. 

1. What two points must be considered in selecting 

a suitable hat? 
2* Se4.ect two costumes and decide en the most 

suitable hats in j-our stock to go with than, 
3. What stjleB, including shapes, materials and 

colors are most suitable for spring and summer 

\TD3r when flnly one hat is bought? For autumn and 

winter wear? 



- 74 - 

CHAPTER III. 
SEaVICEaBILlTY Am COIFORT 

73. \ghat can be broviSht to the customer's attept ioa a boutvthe se rvioe abAll ty; 
and comfort of a hat? ^^ 

Customers seldom are concerned about t^e durability; that is; the 
i^eariug quality or actual endurance of a hat, as ordinarily they do not 
wear a hat long enough to wear it out. They are interested in servicea- 
bility, or the quality of staying in good condition, however, for they 
naturally wish a hat to look well as long as they continue to wear it. 

Comfort is another necessary item to consider, for an article which 
Is worn as constantly as a hat must not interfere with the coatfort of the 
v/earer in any degree. 

In considering serviceability and comfort six points may.be brought 
to the customer's attentiont 



(IJ 


£he material 


(2) 


The trimming 


(3) 


The shape 


(4) 


The fit 


(5) 


The maisuf acture 



These five points will be t%ken up in detail in the following 
questions. 

Test Questions. 

1, V/hat is meant by serviceability? 

2, What ouestions lave you heard the customers 
ask Which show they are interested in 

serviceability and comfort? 

3, What five points may be brought to the 
customer's attention in considering serviceability 
and comfort? 

What facts about material can be brovtght to the customer's attention in 
in considering serviceability and comfort? 

There are four questions which come to the customer's mind in con- 
sidering the serviceability and comfort of a hatj 

(1) \7ill the material wear well? 

(2) How can it be kept in good coniition? 
(3 J Can it be \torn on various occasions? 
{4j Is it comfortable? 

(1) In deciding the question v/hether a na.terial \rill wear well or not, 
such specific points as the following come tfpi 

i. Will the material rough up, split, OirsaX: or shew soil 
readily? 



- 75 - 



ii. Will the material spot ar fade? 

i. The salesperson rnast ha faaJliar ^th the charaa '"eristics of 
hor different raaterials in dscidias v.-hather a material will rough up, split, 
crack or show soil readily. Tho:-.e charaoreristics are given in the dis- 
cussion of materials in Book II, Chapter III. In addition, it may be well 
to note the following general facts about the different materials used in 
millineiy. 

Ihe finer, more pliable straws and land -made braids are less 
liable to break and crack than the coarr:3r, ma'jhine- niaci 9 straws, Chat is, 
the f infer the quality of straw, tho batter it will wear as a riale. In 
fabrics, it is well to know l:h=<.fc silk sheds the dur.t aui keeps cleaner 
than other naterials, and becau.^e it is light-vreight, catchos and shows 
the dust easily, ©lis is parti'^iilarly trj^e of pile and napped fabrics, 

ii. Certain straws and fabrics spot when they are rained upon, 
particularly if the hat is dusty. Wie lighter colors, of course, show 
this more than the darker shades. Oeri-ain colors also fade mere than 
others. Cavenders, pale blues ard taois are especially likely to fade. 
Black gets gray or broimish with wear. 

(2) There are various ways of keeping raaterials in good condition such 
as I 

i. Brushing al^mys after use 
-Mi. Steaming 
iil . '.V^shing, bleaching and dyeing 

i. Different materials require different kinds of brushes. Fab- 
ric hats and fine stra\7s should be brVJ? tied with a ?ad of velvet which 
brings out the texture,, not with a whirk broom which nughs and spoils the 
material. For rough straws the soft ta-t brush may be used. 

ii. Steaming brings up the nap in pile and napped fabrics, and 
also takes creases out of silk materials. 

iii. Straw hats may be rene\7ed by v^ashing, bleaching, in case of 
white straws, and dyeing. Por vQ.shing white soap and \7ann water should be 
used, cind then the hat should be stuffed with paper to hold its shape and 
left to diy. A sun bleach gives a cream \*iite color t3 the straw which is 
much lovelier than the dead white produced by the use rf oxalic acid, which 
in addition, weakens the sti'aw. Lemon juice is another good bleach. The 
color of a hat may be renewed by using any one of the prepared hat dyes 
on the market, care being taken to follov/ the directions given exactly 
and to first make sure that the hat is clean. 

(3 J A serviceable hat is one that can be worn not only f«r a long time 
v/ithout showing wear, but also on a variety of occasions. Materials, there- 
fore, that are suited to many occasions are serviceable. Uovelty materials 
in odd and light or brilliant shades are more for appearance than service- 
ability. 

(4) The reason, of course, has much to do with the comfort of a hat. Al- 
though velvets are worn in August and straws in February, the former prove 



- w - 



very vaim fcfr hot weather and the latter light for chill iveather, Silke 
such as taffeta anO. crepe are likely to be cool and light. In fact, 
the weight of a material has much to do A7ith comfort. Heavy rough 
straws, for instance, may tire the head, vifcile hair straws and lighter 
braids are more comfortable. Duvetyn and velour may be more comfortable 
than the heayie^ bulkier beavers and velvets, 

gest QHestienis« 

1. What fonr questions does the customer a:Bk in 
considering the serviceability and cdmfort of 
the material used in a lat?. 

Z, liana three caterials in your stock this, season 
which will wear well, Uto which will rou^ up, 
split or craclc. Two which soil easily, ffliree 
v;hich keep clean. 

3. X!h&t three methods may be suggested for keeping 
materials in good condition? 

4i V/hat suggestions are you permitted to nske in 
your department for renewing materials ttetspot 
or rough up? For materials that fade? 

'^^' What foots about trinming can be brought to the customer's attention 
in considering serviceability and comfort? 

la consideriag triumiog from the standpoint of serviceability and 
comfort there are several questions the custwner has in mind. 

(XJ Vlll the triiaming \98ar well? 

(2) V/ill it keep clean or soil easily? 

(3) How can it be kept in good condition? 

(4) ^^il it be comfortable? 

(IJ !i3ie question of hoi7 well trimming will wear is dependent on the 
kind of trinming used. Feathers, for instance, are more perishable than 
ribbon* or flowers. Ornaments and beads nay possibly break off. However, 
if proper care is taken of the hat this may beoome a minor consideration. 
As a rule, trinming of good quality will wear the best. Well made 
feather trims, hand-made flowers and floivers of good material, good 
quality ribbon wear better than trinming of poorer make Jwid inferior 
material. 

(2) Whether trinming vrill keep clean or soil readily depends largely 
on the color* Itaturally light colors show soil i^ore readily. Also 
trinmings v^ich offer jsany creases and crevices for dust will be less 
likely to soil more ^juickly than the siigpler trimmings. 

(3) Trinming may be ke2>t in good condition in various ways depending 
on the kind of trimming used^ 

1. Slathers may be veiled to keep them from spreading or break- 
ing. i??.umes may be sent to the cleaners to be cleaned and oiirled, or 
curled by hand by pulling several flues together between the thumb and 
the ba<dc of a knife, A white plume may be scrubbed gently ;»ith pure soap 



- 77 - 

acd -nana water asd dyed a faint blue. 

ii» Bibbons nay be steamed and pressed to rene;7 their freshness. 

iii. Blo\»ers may sometimes be renovated by retinting. 

(4) !Fie comfort of a trimming depen?^ largely on the way it is put on 
a hat. Too much massing in one spot may weigjit the hat down and press 
on the head at the spot. Trims that extend upward or out:ward may inter- 
fere with those aroiind and serious? y endanger their eyes. Sometimes a 
fringe or tassel, or perha^ps a ?on^ loop, will get in the way so as to 
prove uncomfortable, either falling o-rer the eye or getting caught in 
the collar or under the arm. 

Te st Questions. 

Ik. V/hat su^estlons can you make for keeping feathers 

or rib^ons in good condition? 
2. VZhat suggestions are you peimitted to make in your 

departments about methods of curling feathers? 

Cleaning or dyeing feathers, floorers, or ribbons? 

76. '>?hat must be noticed about the shape of a hat tc considering service- 
ability and comfort? 

There are tivo points to consider about the style or shape of a hat 
in deciding ■'.Aether it will be serviceable or noti 

(1) Whether it is a soft or stiff style 
(2} The size 

(1) Very soft hats made of materials which can be crushed without 
hurting the shape such as draped turbans arjd pliable straws are usually 
more serviceable than hats with brims that can be easily bent or crowns 
that can be dented. Stiff hats such as rough straw sailors, felts and 
beavers may also bo serviceable because the very stiffness of the material 
keeps the hat in shape. 

(2) IHie size of the hat has raiich to do with its serviceability. Small 
hats, either brimless or \n\,'n olc^o br3roa usually keep their shape and get 
less hard knocks than hats v/ith wide brims. Hats that can be set down 
flat without beuding the brim also retain their shapes better. Pokes 

and mushroom shapes, unless of stiff material, may get out of shape more 
easily than flat or rolled brim hats and off- the- face hats. 

Hie comfort of a hat depends largely on the wearer. Some people 
find a large hat as comfortable on as a small one. Hov/ever, for business 
wear, traveling ard rough weather the smaller shapes are more comfortable 
than the large ones as the brims do not interfere with the back of a seat 
or in a cro;?d, jior catch easily in the vTini. 

Test Questions. 

1. What styles do you carry in your department this 



- 78 - 



season that you think are particularly service- 
able? 
2, What t^eat'.cnn have yci hoard customers acfc which 
eh(nved they wauted a shapo which would te comf jrs*- 
abXe? 

77 • #>at Pftints must be noticed in the fit of a hat? 

For a hat to fit well the follovr'.ng facts must he true» 

(1) The hat must set on the head a^ if It belonged there 
• (z) Ihe head size must be right 

(3) The croxm must be even with the outline of the head 

(1) FOP a hat to seen to belong to the head, it must not sit up hi^ 
or slip down too far over the eye. The particular manner in which a 
hat vdll be vova depends on the style of the hat asd the characteristic 
way hats are \\x>m. a given season. Zvery hat should seen to stay on 
v/ithout effort to keep it there on the part of the wearer. 

(2) 4 head size to be ri#it must not bind at any point nor make the 
wearer conscious of any portion of the hat pressing against her head» 
Eeither must a hat slide around on the head. If the original head size 
is not rig^t, adjusting the lining or inserting a bandeau may remedy 
this defect, A bardeau must be carefully put in, however, so that it 
does not show nor leave a red mark on the forohesid. A hat with th© 
right head size stays on the head once it is placed, without the wearer's 
constantly having to readjust it. Hat pins should be necessary only for 
additioiB-l security. If it is impossible to keep a hat on without the 
aid of a pin the head size is not right, 

(3) A hat with the base of the crown larger op smaller than the head 
does not properly fit. The cro\vn should fit just comfortably over the 
head line, neither binding the head nor leaving large spaces between the 
hat and tha head. The base of the crown should fit closely to the head 
ne-tt»tter wh^t the size of the brim. 

T est Q.uest i ogs, 

1. What three points are necessary to have a 
hat fit properly? 

2. V/hat can you do to make a hat fit properly if 
the head size is too large? to small? 

78, What points about manufacture can be brouejht to the customer's attention 

in considering serviceability and comfort of a hat? 

There are two rcain facts to notice about the manufacture of a hat 
in considerii^ the serviceability and ccmfort'of a hatj 

0.) The vny the hat itself is made 

(2) The way the hat is finished 



- 79 - 



(1) As a rule, haud-aade ani custom-made hats are more serviceable 
than factory-wade hats because the work on them is acre carefully done. 

One-piece straw hats, for instance, are more pliable and lasting than 
the stitched braids. Also, fabric liats made by hand are likely to be 
more carefully and securely sewed than hats made up in a factory. 

(2) The expensive hat? mada by hand are usually igore carefully finished 
than the cheaper ha'cEo Eio linings aro put in better, for example, and 
the wiring more eicactiy done r>o that neither pull out in wear. A care- 
fully lined hat is more comfortable than one in which raw edges or bixl- 
ky seams occur. 5or this reason when a customer is selecting a Mt 
which she is parti caiar about being comfortable, she frequently looks 
inside it and inspects the v.ay it is lined. 

tLfbotiy. Vkea the «>raa02Ship is particularly good, it may be made 
an excellent talking point when the aistonjer is interested In either 
serviceability •r comfort. 

Test gp.estions. 

1. \7hat points about manufactiire can be used in 

your selling talk when the customer is interested 
in serviceability or comfort? 

Z, What styles in your stock are particularly 
desirable because of the way th^r are made? 



EOOE III 
INfDHUATION FOR REFZRETCE 



Chapter I. Dopartment Vocabulary 
Chapter II. Methods of leachirig 



- 80 - 



OH^PTEH I 
DEPAHOaiEHT VOGABULARY 

W, How can otir vocabulary help us in malciDg a sale? 

HJhJ-le the customer is probably most impressed by seeijig the h&* 
she is buying, she is f.lso largely influenced by what the jB-qlesperson 
flays about it. By describing the merchandise while she shows it, the 
salesperson can bring to the customer's attention the particular points 
lAlch she wishes to emphasise. On the other hand, she can utterly spojl 
a favorable by a careless remark. "Ehe reason for success in ono case 
and failure in another is probab3.y because the good salesperson chose 
carefully Just the \rords v/hich suited the merchandise and TShich would 
leave a favorable impression, whereas the other salesperson said the 
first thing that entered her head regardless of its appropriateness - 
suoh as, "!I!hat looks sweet on you" to a woman trying on a severe sailor. 

Prom this \m see that four pointK should be observed in describing 
merchandise. 

(1) Give as definite a description of the article as possible by 

choosing your vroids carefully and avoiding the use of general words that 
might apply to anything. For e-xample - "2hat»8 a pretty hat", does not 
bring out its importani features, whereas, "OSae shape of this hat has 
a lot of style", or "The clever way this hat is draped shows it is a 
French model" gives its out-standing characteristic appearance. 

(2) Suggest the good points instead of denying the bad; that is, use 
positive Tf^ther than negative statements. For example - say, "Here is a 
style in a lighter shade of green than the one I showed you", zather 
than, "!Ehis hat is not so bri^t as the one I just showed you." 

(3) Avoid exaggerations. For example, Oo say a hat is enonnous When 
you mean lai-ge or "simply stunning" v/hen you mean striking or distinctive 
is to lessen the customer's confidence in your ji:idgment. 

(4) Use the xrortts cheap and expensive with care. Remember that a thing 
may be cheap or expensive only -.Jhen compared vTith something else. For 
example, a tagal straw may appear cheap in comparirg it with a fine horse- 
hair braid but it may be of very good value in ccmparing it with ether 
hats of the sane material. Let the customer know what you are ccsnparing 
it with and show her you are speaking of value lather than of price. 
Avoid using the word cheap in any case, as the word is likely to offend 
the customer. 

Test Questions. 

1. Why is % good vocabulary very Important 
for a salesperson? 



- 81 - 

E, What are the Tour points it is necessaiy 

to otserve in describing a hat? 
3, Uhich of these do you thirk you should 
watch ucsu carefully? 

80, What should guide vou in choosing words to describe a hat? 

Before you attempt to ccmment upon an article you shocild consider 
either nhat value the customer is loolcing for or what particular one you 
wish to enphasize. In millinery the principal values » customer looks 
for were fouiid to be, 

(1) Style 

(2) BecoiTiingness ar.d Suitability 

(3) Serviceability and Coiiifort 

Therefore, which one of these points you have decided should deter- 
mine Ifhe kinds of words you will use, for certain vrorde describe one 
value better than another. 

VThile an accuzate use of a fev/ words is better than an indiscrlmi^-^ate 
use of general terms, a rich and varied -rocabulary from ^•^hioh to choose 
will decidedly increase the effectiveness of your selling talk. For this 
reasoci a list lif descriptive words 1»hat can be used in displaying mei>- 
chandise is included. 

Test Cuestions* 

1, V.hy is it necessary to consider the values 

you are trying to point out in choosing what 
kinds of words you rill us8? 
£• Y/hat happens when a salespereon uses the same 
words to describe any value? (Jive an example 
of some of the words she uses. 

81, \7hat words may be used in describing the style of a hat? 

As a great number of words are used to describe the style ot a hat 
it seems best to put them under the separate heads of. 

(1) General effect 

(2 } Shape 

(3) Color 

(4) HatfirAAl 

(5) Ilaiiufacture or workmanship 

These points..will be taken up in the following questions. 

82 , \7hat words sAi*l»t bo used to describe the general effect cf a , _s tyleSL 

IZhe general effect of the hat itself, or of the trinraing may bo 
described. 



> 62 - 



(1) The following words may be used to describe the general effect of 
the hat itself. 



* Attractive 
Chic 
Conservative 

* Conspicuous 

* Dainty 

* Bistinctive 
Dressy 
Every-diy 

* ElaTjorate 

* Effective 
ixolusive 
Extreme 

* Faihiouable 

* Fresh 

* Frilly 

* Gay 

* Jaunty 
Latest 
llannish 

* Neat 



New 
' Hovel 
lert 
Plain 

Popular 

Fopular-2'i-lccd 

Practical 

Quaint 

Severe 

Simple 

Smart 

Striking 

IQilored 

!Prig 

Trim 

Ultra 

Unique 
Unusual 
Well-niad© 
youthful 



(2) Below are some words which may be used in describing the geneiral 
effect of trir-ining in addition to those words starred above. Since there 
are five distinct kinds of trinming used it will be best to group the 
words xuider the particular kinds of trimming to be described, 

i. V/ords which may be used to describe feathers 

Branched Jutting 
Cascade (falling in a cascade) ^sted 

Curled Pointed 

Delicate Hounded 

Ero oping Spread 

ilrect Streaming 

Fan-sh§ped Sweeping 

Fragile Tilted 

Frail Uncurled 

Graceful Veiled 



V/ords MThich may be useA in referring to flowers 



Adjectives 

Appliqued 

Artistic 

Bright 

Cheerful 

Delicate 

Field 

Frosted 

Hard-r^de 



ITouns 



Bouquet 
CJuster 
Garland 
Spray 

Wreath 



- 83 - 



iii. 

trimaing, 



V/ojxls which may be used in describing ribbons used as 



Words describing 'lie material itself are given elsewhere 
under imterial. The following v.ords refer merely to the way the ribbon 
is used and should be used in addition to those already etarrocJ, and 
those referring to material c 



Adjectives 

Braided 
Crushed 
D. raped 
Frect 
Looped 
Pcnd ant 
;,hirred 
T.visted 



(hanging) 



Nouns 

Bow 

Chou (large rosette of 
ribbon or tulle) 
Gockade 

Co que (small ribbon bow J 
Jold 
Knot 
Loop 
Streamer 
1^0 set te 



iv. V/ords which may be used to describe fabrics used for trimming 
will be found elsewhere under materials. 

V. The following v/ords may be used in referring to ornaments, 
bands and embroidery. Again it v/ill be necessary to refer to the words 
given under materials for descriptive terras to use for the various ma- 
terials used for ornaments, bands and embroidery, as well as to the 
starred words already given. 



Adjectives 

Appliqued 

Beaded 

Bnbroidered 

Jet 

lletal 

Tasted 

Shell 

Spangled 

Se.red 



Nouns 



Beads 
Buckles 

Carbochons (small buckles) 
Fancies (ornaments standing 
away from the hat) 
Pins 

Sequins (small metal discs) 
Slides 
Sticl:-ups 



Test Questions. 

1, In :/hat five ways may the style of a hat be 
described? 

2, :Tame three adjectives which might be used in 
describing the general effect of a style shovoi 
to an elderly woman. To a young girl. 

3, Vitot woids might be used in describing the 
following styles? A sailor? A draped turban? 
k taiTfeta off-the-face hat? A wide-brimmed 
horse-hair hat? 

4, V,i!hat words might be used to describe the following 



- 64 - 



Icizids of isr-liisming? Pink roses on a mushroom 
Iiat? A willow pltira? A cockade in front of a 
hat? Bnbroidery on the front cuff of a hat? 
5. Select several different styles in your depart- 
ment and see \*at wo ids you can use to describe 
them. 



83. \ghat m)r6s may be used :.n describing the shape of a hat? 

The following \;ords iray be used in referring to the shape of a hat* 



Brimless 

Bell crewu 

Charlotte Corday 

Chin Chin 

Cloche 

Cleft in brin 

Cxxrved brim 

Directoire 

Double brim 

Drooped brim 

Plange ((v;ide brim at 



High front cuff 
Irregular 
Large 
Ilushroom 
Off-the-face 
One^^plece 
Picture hat 
Poke 
Regular 
Rolled brim 
side) Hound 

fas'!; Questions. 



Sailor 

Slanting crown 

Slashed brim 

Small 

Straight brim 

lam 

!Ioque 

Turban 

Y/ide brim 

Flat 

Gainsborough 



li Hoi ice what styles you have in your department; 

which can be described in the above wcrds, 
2, 2Iake sure that you understand just what each of 

these words means. 



84. Mhat w^yds may be used to describe color effects? 

Words with \7hich it is necessary to become familiar in describing 
color effects fall into three groups. 

(1) Specific colors 

(2) Color effects 

(3) Color combinations 

(1) It is very important for the salesperson to be able to name the 
color she is talking abou^, especially when it |s a new color for the 
season. For in.-'tance, the customer would have much more confidence if 
the salesperson said "This hat is made up in periv;inkle blue which is 
to be \/orn a great deal this season*', tt^an if she merely said "fihis ha$p 
Is a^o made up in blue." 

To give all the colors completely would make too long a list. 
Moreover, many change their names from season to season. Therefore, those 
given below should be regarded onjy as a beginning toward finding out 
colors and being able to recognize thera. The buyer, .the assistant buyer 
and other salespeople can also point out the different colors as they 
appear in the ha-ts. Since more help is gained by actual observation, 
only very general definitions are given aad in some cases naany are grouped 



- M - 

together. Dais makes it necessary for the salesperson to distinguish 
between them or get someome to distinguish them for her. A safe rule 
to folloT? is to ask about aiay color which is unfamiliar. In addition, 
it is a wise plan to make a point of learning the new colors the minute 
they come in, ard making a list of them so that she wijl nn* for«*'* t)«w. 

Blues 

Alice 
Cadet 

Copenhagen 

Delft 

French 

Japan 

Old 



Blues with gray in them 



Baby - light blue 

Cornflower - lasender blue 

Electric ) 

Kings ) _ bright, intense blue 

Royal j 

Saphire ) 

Canard (duck - a little more sombre than Peacock j a very 

dark metallic green J 
Midnight - dark blue, almost black 
Navy - dark blue, but definitely blue 
Peacock - dark; greenish blue. 
Turquoise - light, greenish blue. 

Greens 

Apple - clear blue green 
Bottle - cark, dull green 
Bnerald - bright, clear green 
Hunter's - dark, bluish green 
Jade - clear green 
Eelley - much like emerald 
Nile - light, yellow green 
Olive - broiTnish green 
Olive-drab - daik, dull green 
Reseda - gray green 

Yellows 

iunber - deeper than gold and a little redder 

Buff - light, clear yelloi? 

Gold - dull yellow with a touch of red in it 

Honey - c:i>ear, deep yellow 

Lemon - pale yellow with a touch of green in it 

Ilaize - clear yellow 

Saffron - deep yellow 

Orange 

Burnt orange - dark, reddish orange 

Tangerine - like burnt orange, only lighter and brighter 



86 - 



Reds 

American Beauty - blttlsh red 

Brick - raw, yellow red 

Cardinal - between crimson and scarlet 

Cerise - lavender red 

Crimson - darlCj. rich red 

Magenta - purple red 

Uaroon - duller than wine 

Scarlet - bright, transparent red 

ffarkey - (or Siam) - bright, dark red 

Wine - deep, clear purple red 

PT.rples anfi lavenders 

Burgundy - brownish purple 
Fuschia - deep, red purple 
ilauve - light purple 
Orchid - pinkish lavender 
Plum - deep, reddish purple 
Hoj'ai. - br.'.erht, rich purple 
Violet - bluish purple 
Wistaria - bluish lavender 

Pinlcs 

Apricot - yellow pink, deeper than peach 

Coral - light, yellov; pink 

Flesh - pale pink 

Old-rose - a dull, gray pink 

Peach - a very yellow pink 

Sose - deep pink 

Salmon - orange pink 

Browns 

Chestnut - a light, reddish birown 

Cordovan - dull, red bro^vn 

Drab - dull brown 

Henna - red brown 

Nigger - very dark bro\m 

Ri.iEt - similar to henna, but lighter 

Sepia - dark brown 

Tobacco - dark, reddish brown 



Tans' 

Beige - biscuit color 
Chrjnpagne - clear, light tan 
Zhaki - greenish tan 
Pongee - light, dull, yellow tan 
sand - light, yella>7 tan 



- 87 - 



Grays 

Battleship - dull, dark e^^y 

Beaver - brovm gray 

Caster - diill, blue grfty 

Fawn - soft medium light gray 

House - soft grey, lighter than fawn 

llinkel - dull gray, lighter than Battleship 

Hose tGupe - rose gray 

;3ilver - lighter than steel 

Smoke - dull, dark gray 

Steel - clear, cold, light gray 

''.faites 

Cream - \rhite with a little yello;7 
Ivorj' - a little yellower than cream 
Oyster - grey white 



(2) Color effects. 



Glowing 

AdvsncijQg Intense 

Bright Pearly 

Clear fiestful 

Cool Sebreating 

Beep Silvery 

Delicate Soi'^tre 

D ingy S c imulat ing 

Dull Subdued 

S^.int Vivid 

Gray V/aiTi 

Golden Brilliant 



(3) Color combinations. 



Oh^i^Dgeable - see first one color then the other 

Ccnt.vadting - colors giving different effect 

Ono-';oned - sarie color upsd 

p-.fdor-.iuan!; - color whioh stands out 

Ea:rra">niouG - 

Re; a cod ~ colors giving same effect 

S^rJ icing - 

Tv.'o-toned, three-toned - combination of two or three colors 

Unusual - 

T est Questions. 

1. Ask someone to point out the specific colors 
mentioned and study them until they are familiar 
to you. 

2. ij"ind out v^at novelty colors are carried in your 
dspartnent this season. Write them do\3n. 

3. Select several different styles ard describe the 
color effects produced and the kinds rf color 
combinations used. 



.86- 



- 68 - 



65. \7hat words may be used to describe the material used? 

The words used in describing the material used in a hat may refer 
to. 



(1) 



(1) The texture 

(2) Tiie quality 

(3) The way in v;hich 


it 


is 


used 






yords describing ^e 


texture may 


refer 


to. 


i. The appearance 
ii. Jhe feel 
iii, The strength of the material 




1. Appearance 












ielicate 

Pilmy 

pine 

Gauzy 

Glossy 

Lu&trous 

Rich 

Hough 










Sheer 

Shiny 

Shimmery 

Satiny 

Silky 

Smooth 

Sfraneparent (can see 

„ , through it) 
\7ooly 


i. Jeel 












Coarse 

Brittle 

Oool 

flimsy 

Piim 

Harsh 

Heavy 

Pliable 










Bough 

Smooth 

Soft 

Stiff 

Thick 

Warm 

yiiy 

■JJooly 



iii« Strength 

Durable 

Pi-agile 

Perishable 

Strong 

Thin 

(2) Words referring to the (jpality of the material 



Defective 

Exceptioral 

Excellent 

Pine 

Genuine 

Goo& 



Hand-^TOven 
Imitation 
Inferior 
Machine-made 
Real (lace) 
Heliable (make) 



- 89 - 

Guaranteed Standard 

Hand-made Staple 

Superior 

(3) ybrds referring to the vzay in vdxich the material is noed. 

All-over (of one piece) 

A^pliqued 

Draped 

Bhibroidared 

Shirred on the brim 

Sraodced on the hrim 

veiled 

Test ^estions. 

1. What three iacts may the words used in describing 
materials refer to? 

2. See if you know the meaning of every word 
listed above. 

3. Select several different styles in jrour stock 
and try to use some of the above woyds correctly 
in describing the appearance and the quality of 
the materials used. 

86, V?hat words may be used in describing mamifacture or Troriananship? 

She follo\nng wo ids may be used in deBcribing manufacttire or 
\vorlaDanship. 

Careful Good 

Custom-made BasdMidda 

^en ZJaohine-made 

Uxcellent Heat 

Exquisite Satiafactory 

. Piim Superior 

Bactory-nade Well-finished 

Test 3uestions, 

1. Select a fe^v models in \7hich the woriODanehip 
is particularly good and notice \ih&t you can 
say about it. 

2. V/hen \vould you draw the customer's attention to 
the •workmanship? 

87 • TThat words may be used to describe becomingness and suitability? 

In talking about becomingness it is particularly necessary to 
point out just T/hat it is that makes a hat becoming. It may be the line, 
or the color or perhaps the texture of the material. For this reason 
many of the words used in describing materials, colors and line will 
be used when showing a customer rthy a hat is becoming* This means that 



- 90 - 

there are only a few .vords which can be used to describe the becoming - 
ness of a hat without describing the color, material or shape directly. 
This is also true when describing suitability. A hat is suitable be- 
cause of certajji features about the shape, or the color or material. 
However, there are a few words given below which can be used in addition 
to the words used in describing material, color and line. 

Appropriate Sensible 

Beccraing Smaipt 

Charming Striking 

Besirable Tasteful 

Girlish Suitable 

Gracei\il (line) youthful 

Te s t_ Ques t ion s . 

1. V/hat is it necessaiy to do in ojrcwr 

to really convince a customer a hat is 

becoming? 
^. Select q, hat from your stock and decide 

what you could say about its suitability. 

To what features of the hat \;ould your 

words refer? 

88 • \ahat words may be used to describe serviceability and comfort? 

Again it will be necessary to refer to the words used to describe 
stylo, as words refering to materials shapes, color and manufacture, for 
both serviceabiiity and comfort depend upon these facts. In addition, 
the following words may be used. 

Adjustr.ble Durable 

Appropriate past (color) 

Binding Heavy 

Conservative Light 

Comfortable Snug 

Slose-fitting Suitable 

Baiacljebie (lining) Tight 



Well 



Test Questions. 



1, TThat words can you used to describe 
serviceability? 

2. Try a hat on yourself and describe Jiow it fits, 

69 • V/hat cautions should be observed about certain words which are 

frequently used? 

There are tAvo types of words about which the salesperson must 
bo careful, 

(1) Words which have been over-v/orked and frequently used in a 



- 91 - 



careless way, 
(2) tfords which are not appropriate or correct to use in describ- 
ing millinery, 

(1) !Ehe words trhich are oveivworked nay be used if used with discrimina- 
tion. They should not be used in a general sense, but should always 
describe some specific fact about the article, othenvise, they mean 
little. The following are examples; 

Beautiful 
lovely 
Nice 
Pretty 

(2 J The words listed below should not be used in describing merchan- 
dise; 

Cheap Grand 

Glassy Nifty 

Clever Showy 

Coiiuettish Sporty 

Slegant Sweet 

Frenchy Swell 



Test Questions* 

1, Thinite of a better v;ord to use than cheap; 
cute; sweet; grand« 

2, Us£ the following v/ords in such a way that 
they will convey a definite meaning; beautiful; 
lovely; nice; pretty; charming. 



- 92 - 

CHAPTER II 
iTETHCiDS OP TiLlCHING 

9*, How nay the manu.3.1 be used most efgectively? 

The information given in it may be used in the following \vay6: 

(1) It may form the basis for \veekly departmental meetings conducted 
by the buyer or his assistant or some representative of the training 
department. This has the advantage cf a course given on the floor, 
where conditions seem more natural than in the educational department, 
and where merchandise may easily be kept at hand to illustrate the 
various points brought up. 

(2) It may be used as a text for class room work. If th|a is done, 
it is assiimed that the educational representative wilT divide the 
material into the number of lessons desirable for the time at her 
disposal and the experience of the salespeople who are in the class. 
She can also adapt the amount of information to the needs of those 
who are attending the course. 

(3) It may serve as a reference book for salespeople. Any ono may 
read it without the help of other people, but for the best results it 
should be used in connection with talks, discussions, and demonstrations. 
If a salesperson entere the department during or at the close of a course, 
it is then necessary to give her a manual that she may read what she 

has missed, V.henever possible, the sponsor or the assistant should give 
her a test on the parts she has read. Since the material is arranged 
in question and answer form, it should not be difficult to study. 

The methods used will differ with the kinds of information taken 
up. Stock locacion, for example, will probably consist nainly of 
questions and answers of the where and what , while the information on 
materials, values, and technique will require demonstration and discus- 
sion as well, 

91 . lihat method should be us3d in teaching the manual? 

Practical a.pplication is the only method which will be truly 
effective. It may take the following forms: 

(1) The questions given in the different divisions may be answered 
in class cr a salesperson reading the manual alone may study these 
questions for herself, 

(Z) Lists of written questions may be given to new salespeople who 
are learning stock. They ahould be answered after there has been an 
opportunity to study the merchandise. Ihe*"^ answers may be either oral 
or written. 

(3) JPtoints may be demons tr<tted by showing and discussing the merchan- 
dise in a meeting. 

(4) Oral tests may be given and the salespeople may be required to 



- 93 - 



demonsttAte various po ints . 

(5) Demonstration sales may be conducted and then discussed, 
92. When should the material in the mantial he read? 

(1) It may be read in the meetings. Each person will hare her own 
book and she can, therefore, follow the reading. 

(2) If the buyer is willing it may be read at some special time 
during the day when the Sot.lesperson is allowed a short time off for 
this purpose. Since questions will be asked on the material later, it 
will be possible to see that she really does study during this time. 

(3j It may be read outside store hours. This plan, however, should 
be used only as a last resort. Z^xcept during the very busiest seasons, 
when classes of this sort would hardly be conducted in the department 
anyway, there are certain slack times when one or t^vo salespeople at a 
time night be allowed to do this reading- The floorman would. of course 
have to see that this was done only during * dull period. Very little, 
if any, study should be required outside of working hours. 

93. Hew may ?cok I, on Llerchandise. be studied? 

The three chapters in this Book may be taken up separately or 
may be studied together. Chapters II and III, on values, would probably 
be taken up together, wiiile Chapter I, on learning Stock, might be taken 
up by itself. 

94. How may Chapter I. on Learning Stock, be taken ug ^ 

Experienced salespeople need not be reicpired to read this Chapter, 
but if a large number of new salespeople are to be trained, this part 
is very important. In the first meeting the person in charge should 
explain briefly the purpose of the cours6 and the importance of informa- 
tion on merchandise and on selling. He should then distribute th© 
manuals and go over part of the material with the salespeople. A 
definite assignment may be made for outside reading or the subject for 
the next meeting may be announced. It should be mada clear that questions 
will be asked and salespeople will be held responsible fcr the information 
in the assignment whether it is read in the meeting or at some other 
time. Anything which can be done to show them how to study the manual 
for themselves will be valuable. 

The part on "Location of Stock" need not be taken ul> in a d©pip$«^ 
mont meeting. It is for the benefit of new people and the facts in it 
are given to them individually by the sponssr or the head of stock. Since 
it is written directly for the person \Vlio will teqch new people, it needs 
no special comment. 

The testing which follows up the study is of great importance. If 
it is not done carefully and promptly, the salesperson is very likely 
to get the idea that she may be told to do other things end may then be 
able to escape them because nobody sees that directions are followed up. 



.-. 94 - 

pother matter lahich should not ve neglected is impressing the 
new salesperson v/ith the willingness of experienced people to help her 
and to answer her questions. It is especially important that she be 
toid just whom to go to when she is in doubjt about anything. 

Unless there is some special point in the care of stock that the 
department head v/ishes to stress, this subject need not be taken up iu 
a meeting. It should be assigned to new salespeople to read carefully 
and its various directions should he emphasized by the sponsor or the 
head of stock when she tells the nav salesperson's duties and shows 
bow they should be per:?oimed. 

95. H ow may Chamber T.I, on "Values which Customers Look for in Buying" be 
■^ken UP? 

It is very important that this chapter on the explanation of th© 
meaning and importance of values ie thoroughly understood before the 
rest of the material is taken up. A separate study of Chapter J^, on 
Infcrm^tion on Materials and llanufacture, would logically follow. 

Tw» import-nt aids in teaching this material are the use of the 
test questions given in the manual and the display of merchandise to 
illustrate facts mentioned in the manual. 

In general there are four methods of studying the values desired 
by customers ^vhen they buy millinery. 

(1) The instrutStor may show certain hats and point out various details. 
This is usually the first thing to bd done. Example - The instructor 
may call attention to excellent lines in a hat. 

(2) Hats which illustrate various points may be held up and salespeople 
asked to name or discuss those points. 

(3) Hats may be displayed and salespeople may be asked to what type 

•f customers they should be shoim. 

(4) Different types of customers may be described and salespeople may 
be asked what styles of hats should be shown them. 

{^^ In studying this material the test questions should be carefully 
HI svmred. so that the instructor can be sure the points are clear before 
gjing farther. It migjit also be helpful to collect a list of customers' 
questions from the salespeople which will illustrate the points they 
are taking up. Hats can be shown and the different values pointed out 
as they are discussed. 

96 • Hew m a y Cha pt e r III, on Information on Materials and llanufacture Necessary 
to Expla in va]ues. be studied ? 

The use of merchandise will be the best way to make this information 
clear. Hats of different toaterials can be sho^vn and the various charac- 
teristics pointed out. In this way the saleeperson can learn to connect 
the name of a material- with its appearance and selling points. Bifferent 
qualities of materials can be shown and the points brought out which 



- 95 - 



account for th©ee differences. The same method can 'be used in observing 
how the hats ai*e mari«, na.nd--jnado ani machine or factory-made hats can 
be compared, for instance, and the particular advantages of each dis- 
cussed. 

97, How may Book II. on Specific Valu es in Hillinerv be studied? 

In this detailed discussion of the values customers look for in 
millinery, merchandise must be again used to make the information clear. 
The test questions must also be carefully answered. 

In Chapter I, on Style, hats can be displayed to illustrate the 
different points about line and foira color, material and manufacture. 
Questions on what particular points in the style of each hat should be 
broufjit to the customer's attention, and to whom they should show the 
various styles might be helpful, in addition to those given in the 
manual , 

In Chapter II, on Becoraingness and Suitability, different hats 
should be tried on different salespeople and the effects discussed, 

Jn Chapter III, hats should be especially coigpared to decide 
which are most serviceable or comfortable. This brings in discussion 
of materials, trimming, shapes, fit and manufacture. 

98« How may Book III, on Information for Ileference.be used? 

Chapter I, on Department Vocabulary should be taken up in class. 
In this way the salesperson will learn to pronounce and use words 
correctly from the very first, \7hen a word is discussed the instructor 
may use it in a sentence to show what it best describes •r may ask some 
salesperson to do this, I^rticular stress should be laid on having 
each word describe some definite point or value in a hat and not be 
used in a very geneia.1 sense. 

ffiie salespeople should also be urged to go sver the lists of words 
from time to time in order that they may gradually acquire a larger 
vocabulary, ard also learn to use it for reference when they want to 
know how to describe certain effects, 

99. VVhat svu^gestionfi gan :be p riven for a person who must read the manual alone? 

For the person studying the manual by herself the following sugges- 
tions may prove helpful. 

1. Read the table of contents over carefiilly to see what the 
manual is about. 

2. irote the division of the manual into the four books-. Technique 
•f Selling, Merchandise, Specific values in Jlillineiy, and Information 
for Reference, s» that if you wish to look up information on certain 
points you will kiiow to which books to refer. 

3. As yeu start each book, note the chapter headings given in 
the special index for this book. Try to name ever thesA chapters to 



- 96 - 



yo-orself tefore starting to read the 'book, 

4. As you read each question try to apply it to your ovm 
department by recalling your o\vn experience and problems on the 
subject it is discussing. 

5« As you read the answer try to keep the question constantly 
in mind. Notice whether your own experience bears out the information 
given here. If there are seveial parts to an answer count them up and 
see if you can name thera without looking at the book. 

6. Read only a few questions at a time, but think these over 
carefully and answer the test questions. If some of the points are not 
clear to you or you do not aggree with them talk them over v/ith someone 
whose judgment you trust. 

7. AB far as possible try out the suggestions given in the 
manual and notice whether or not these suggestions have proved helpful. 
Check up in the manual those suggestions v7hich proved the most helpful. 

8. notice Chat Book IV is called "Information for B.eference". 
Learn to use it for reference by getting into the hab^t of looking up 
descriptive words to use in.-lliving selling points in this book as 
occasion arises. Bead it over once carefully so that you may know what 
material is thore to which you can refer. 

9. In reading the manual the first time indicate in some ^vay 
where you left off each tv^e so that when you return to it you may have 
no difficulty in finding your place. Then, before starting to read tiy 
to recall ii^iat you had read the time before. Be sure to notice the 
title of the chapter and the book in which you are reading each time. 

10. He-read the manual from time to time to refresh your memory. 
Read especially those sections whi(Sh seemed to you the most vrorthwhile 
and v/hich gave you the most help the first time you read. Compare 
these sections with those which other salespeople in your department 
felt taluable, then re-read tlie sections they had chosen, as they mi^t 
prove helpful to you as well. 



